Andres Serrano puts his finger in the wound in his first large retrospective in Spain. The creator of Piss Christ reviews his work in series such as Nomads, Klansmen, Budapest and new images from The Morgue.

From the time they first appeared in the early eighties, Andrés Serrano's images have addressed the contemporary world's most controversial and polemic subjects. El dedo en la llaga (Salt on the Wound), an exhibition co-produced by ARTIUM, Tecla Sala in L'Hospitalet del Llobregat and PHotoEspaña, is the first retrospective of his work held in Spain. Body fluids, exclusion, fanaticism, religion, disease and death are present in the series found in this show, which include Nomads, Klansmen and Budapest as well as his works on fluids and new images from La Morgue. This may explain why Andres Serrano's work has often been seen through the prism of controversy, as when his name achieved international fame in 1989 because two senators denounced his work Piss Christ (1987) in front of the United States Senate.

The choice of subjects and the way they are treated have also placed his work within the parameters of controversy. The forcefulness of his images is based on advertising devices such as his use of lighting and particularly the way he employs language; specifically, the precision of his titles and the use of words in a simultaneously brief and eloquent way.

Andrés Serrano (New York, USA, 1950) has received the Gold Medal from the Art Directors Club and his work has been shown in the world's major art centres, including the MoMA, the Museums of Contemporary Art in New York and Chicago, the MACBA and the Zagreb Museum of Contemporary Art.