The question of what might constitute a critical practice, after Andy Warhol and generations of artists that have followed him, haunts Capitán’s selection and reinterpretation of the Coca-Cola can and trademark, as well as her decision to situate her own self-portrait within a painted version of one of Richard Prince’s appropriated Marlboro advertisements. This material is seen from the perspective of her own generation, which has freed itself from historic debates about the avant-garde nature (or otherwise) of such gambits, and instituted instead a free-wheeling and unselfconscious attitude to the use of found images and materials.

In her own work ‘After the Big Pop’ Capitán seeks instead to produce her own language of ‘trademark’-style images and slogans that question the notion that advertising and commercial culture are somehow opposed to art. This optimistic acceptance of the end of boundaries is evident not only in her texts and paintings as art works in themselves but in their subsequent appropriation by fashion brands as the basis for their own products and publicity campaigns.