Nowadays, the different exhibition devices inside contemporary gallery spaces have overflowed and it seems that the relation between the works of art and the classic displays in those places is more distant. However, despite the discussion about the conventional art formats, like frames or pedestals, is apparently over, the reality shows that good part of the works presented by artists at galleries and other cultural spaces, are still adjusted by those classic formats for their thinking representation, deriving mostly in the endless necessity for possession and artifact analysis. The questions, consequence of developing the problem of installation as a new model for representation, helped to understand the alternative way to conceptualize space and to generate the differences between landscape, architecture and sculpture  most of the specialized critics from the 70s in North America were devoted to that, but the problem with the exhibition devices was not exactly resolved with their modification, it was diverted to the transformation of the space where the artistic event occurs. In most of these places, the pedestal and the frame still rule the exhibition ways.
 Rosalind Krauss, Sculpture in the Expanded Field, 1979 Ricardo Rendón proposes an exercise entitled Void is all at the Project Room of Arróniz, formally referring to the pedestal to activate inside the exhibition space several relations with the actual place and many references from the history of art, specially the history of modern and contemporary sculpture. Through many formal clues, like prisms, mirrors and the visual incisions produced for the viewer by Rendón's project, the installation behaves like an extension of the sculpture language, not only from its materiality, but from its significance and relevance as exhibition device and work of art at the same time, reminding us why the sculptural event is not only on the thing or the volume inside the white cube, it also happens in-between the unoccupied spaces produced in order to place the statement in the viewers route, activating their memories with the proposed relations. The void in the work of art do not refers to content nullity, it is a space waiting to be filled from the viewer experience. Para la sala de proyectos de la Galeria Arroniz, Ricardo Rendón propone un ejercicio que tituló Todo es vacío, para lo cual se remitió formalmente a la figura del pedestal para activar dentro del espacio de exposición diversas relaciones con el lugar y con los distintos referentes correspondientes a la historia del arte, en particular a la que refiere a la historia de la escultura moderna y contemporánea, a partir de las distintas pistas formales que Rendón deja en el espacio, como son los prismas, los espejos y las incisiones visuales que su proyecto produce para el espectador, de esta manera la obra se comporta como una ampliación del lenguaje escultórico no desde su materialidad exclusivamente, sino también desde su significación y pertinencia como dispositivo de exhibición y obra al mismo tiempo, recordándonos el porqué del problema del suceso escultórico no está exclusivamente en la cosa o volumen dentro del cubo blanco, también sucede en los espacios que estos dejan y producen para que el enunciado ap