Marcos Vidal's objects immediately elude classical classification through words. Do they reveal an objective reality, are they objectively true, or are they plastic carriers of an objective perception?

Vidal breaks with conventional ways of seeing, as well as with the functional arrangements with which society facilitates its own understanding and general coexistence. He invents laws and norms to guarantee the functionality of objects. But these descriptions of objects are constructions that remain valid until a new invention demands a different truth.

Vidal intervenes in these questions with his artworks, reviving the viewer's familiarity with the individual object, only to immediately question it again. Vidal renews the so-called object art that has excited or scandalized the art scene since the late 1950s.

The credo of that era was: object = objective = real = reality. The ready-made was subject to the direct control of the artist, who no longer had to make formal considerations. The only thing left to do was to find the right context.

Vidal loves objects. He collects them: saws, cables and pipes, spatulas, electrical plugs, tape measures, and, with particular preference, the wooden blocks he transforms. Only direct utility is obscured by the new character of the work.
Each theme addressed is a poeticization of the real object and, at the same time, a critical questioning of its functionality and acceptance in the capitalist and commercial world of our society.

Therefore, the artist's works are not a game, but the result of his own critical experiences with the habits and laws of our society and, at the same time, the beautification of the object, which now only has an aesthetic life ahead of it due to its new uselessness.

This political interpretation lies beneath, often hidden, in each of the artist's sculptures, especially when he deals with the various spatulas, or with the oversized electrical plug made entirely of wood, or the centimeter measurements made of wood, therefore unusable, in the work "Tape Measure."

There are no parallels in the history of Spanish art, but Picasso's bull's skull could serve as a model. In this way, Vidal also breaks away from the long tradition of Spanish painting.

Subjective connections with the object thus find a new reality. The tools are works of art that are retired from use to evoke in the viewer memories, new reflections, and other experiences with the familiar object.

In his eponymous 1962 essay, the Italian poet and philosopher Umberto Eco calls this process the "opera aperta"—the open work of art, which acquires independence in the mind of the individual viewer in a different way and is finalized in a differentiated way.

Because each viewer brings their own private connotations to the work of art.
Just as Vidal presents his own connotations, in which he processes his experiences with objective reality.

The artist is aware of the fragility of connotations, but he himself constantly questions the objective reality of each object, questioning perception, inner and outer reality.

Objectivity is what is confronted, reproach and counter-reproach at the same time.
In this way, Vidal moves with his objects in real life, in art history, in sociology, and in philosophy. His works are interpretive and, therefore, hermeneutical objects.