The title Pendientes plays with a double meaning in Spanish: it refers both to slopes—the physical inclines central to accessibility design—and to that which is pending, unresolved, or still awaiting action. Pendientes is a performative study of kinetic normativity: that imposed choreography which defines who gets to inhabit movement—and who is always left just outside the threshold.

I walked carrying three accessibility ramps, one by one, designed not to function. With their primary colors and recognizable shapes, they brush up against the aesthetic of infantilized rights—of what is labeled inclusive. They are not accessible. Just like many of the structures that shape public space. I drag them—sometimes with help, sometimes with only my body. These three useless ramps become obstacles: they interrupt streets, cut through sidewalks. At each pause, I draw. At each detour, I observe: how a body can—or cannot—move through the city.

Spaces are designed for those who move with a steady rhythm, without obstacles, without interruption. A body that lingers, that needs support, that deviates or interrupts the flow, disturbs the order. The norm dictates: those who can’t keep up do not belong. This work seeks to question why it is the body that must adapt to space—and not the space that must transform to receive all bodies.

I walked around the Museum of Modern Art of the Dominican Republic, opening a direct dialogue: Who gets to arrive here? Which bodies are left out before even reaching the door? To what extent is accessibility considered part of curatorial, architectural, or budgetary language? Who inhabits the galleries—and who remains outside due to structural omission?

Video documentation/ assistance: Valemisse Reyes and Mónica Santana

Sign language interpreter: Merlyna de Jesús