In La libertad de la impermanencia, Diana Fonseca transforms volumes of Filosofía Marxista into objects that speak simultaneously of ideology, memory, repetition, and the instability of supposedly permanent systems of thought. The work retains the sober black bindings and authoritative typography of the original books, but Fonseca radically alters their physical presence through an accumulation of dozens of black bookmarks emerging from between their pages. Artsy identifies the work as a sculpture made from intervened books and as part of a limited edition of three.

These bookmarks are not peripheral details; they are the conceptual and visual heart of the work. Ordinarily, a bookmark identifies a passage considered important enough to revisit—a point of emphasis, remembrance, study, or unresolved inquiry. Here, however, their extraordinary proliferation overwhelms that function. When seemingly everything has been marked, the hierarchy between one idea and another begins to collapse. The book, traditionally understood as an orderly container of knowledge, becomes saturated with references, interruptions, and competing points of significance.

Within volumes devoted to Marxist philosophy, this gesture acquires particular resonance. The abundance of markers can be read as an evocation of the exhaustive study and ideological scrutiny to which such texts were subjected, particularly within educational and political systems where Marxist-Leninist thought occupied an institutional position of authority. The bookmarks suggest repeated reading—pages returned to again and again—but also an almost compulsive need to identify, categorize, and preserve particular ideas within a doctrine that presented itself as systematic and complete.

At the same time, the bookmarks physically escape the confines of the books. They spill outward in dense, unruly clusters, disrupting the controlled geometry of the black volumes. What is supposed to remain contained between the covers can no longer be contained. The system begins to exceed its own structure. The restrained exterior of the books stands in tension with this almost organic eruption from within: order against disorder, doctrine against experience, intellectual certainty against the unpredictable movement of history.

The title, La libertad de la impermanencia—The Freedom of Impermanence—deepens this tension. Fonseca places an ideology associated with historical certainty and permanence in confrontation with the inevitability of transformation. The books survive as recognizable objects, and their titles remain intact, but their authority has been materially unsettled. The accumulation of bookmarks implies that meaning is never completely fixed: every generation can return to the text, select a different passage, question another assumption, and reinterpret what was once presented as immutable truth.

Rather than simply destroying or negating the ideological object, Fonseca subjects it to a quieter and more complex process. She turns certainty into multiplicity. Each bookmark becomes evidence of another possible point of entry, another reading, another memory. Collectively, they transform a closed philosophical system into something fragmented, open-ended, and unstable.

In this sense, La libertad de la impermanencia is not merely about the decline of a particular ideology. It addresses a broader human impulse to construct permanent intellectual, political, and social structures in a world where meaning is constantly being revised. The work's power lies precisely in the contrast between the apparent permanence of the book and the restless accumulation of markers emerging from it. Fonseca proposes that freedom may reside not in discovering a final and absolute truth, but in accepting that ideas, histories, and systems remain perpetually subject to rereading, reconsideration, and change.