On the occassion of the retrospective : VAL DEL OMAR Overflow the challenge of transferring the PLAT laboratory, this space of creation in the Barrio del Pilar, to the Museo was undertaken. Storing all these objects is quite a challenge. Through the topographic we are always able to transfer, through the different venues of the touring exhibition, all the objects from this unquestionably unique space. In the PLAT, what we are primarily concerned with is knowing the location and having pieces in place, and then we have other elements, other works that also move with the PLAT, which are collages and documents displayed in cabinets. We have films, diakines and slides that also need a replacement because the images fade in the light box and eventually have to be changed. So we also have to consider the maintenance and documentation of these kinds of pieces, which are more conventional and have a conservation report. We document them when they are compiled and installed, and we also have to take into consideration weather conditions; because they are documents and the paper is delicate when exhibited. Let’s say then that there are many aspects to consider in terms of conservation and restoration. We’ve got three new tricks, two shutters and a bionic lens which works to distort the image. We’ve also got two projectors which are the ones that are used, the ones that project the image onto the fresnel screen. And then we have some tricks within the ‘Truca’, which is the heart of PLAT, and where Val del Omar assembled his images to record them. And there is a projection which is an example of what Val del Omar did with the effects of the Truca, and it has different tricks, passive and active effects that are like coloured shutters, and shutters that interfere with the projection, with the image of the projection, and vary it.