When Mercedes Azpilicueta’s exhibition “Las Mesas Danzantes” (Dancing Tables) opened to the Cordovan public, those of us present witnessed a performance that transformed the ritualized ceremony of the art gallery opening (the air-kisses, the speeches, the beer) into something that evoked another type of ceremony, now nearly forgotten but very fashionable in the nineteenth century: the séance. In collaboration with the artist, two members of Baiven, a young local dance collective, performed a dance in which the two protagonists of the séance—the visible one (the medium) and the invisible one (the spirit)—moved in tandem, pursued or eluded each other, spoke through hand gestures and their bodies, in an atmosphere of comfortable semidarkness and before a silent circle of attendees.