The Guggenheim Museum Bilbao retrospective is an enlarged version of the exhibition originally held at the Museo Nacional Reina Sofía in Madrid and presents some 200 works by the artist from 1946 to the present day, thus covering more than 50 years of a creative career largely concentrated in two genres: sculpture and drawing. The selection covers all the materials and stages of the artist's development and is divided into four sections. The first section includes large-scale works, as the gallery spaces available for the exhibition at the Museum can take works up to 11 tons, which means a number of major works in steel are excluded. A second section deals with works in fired chamotte which the artist calls lurras and are an important part of his production; the third section is given over to works with or on paper, the reliefs (or gravitations, to use the artist's own term), and the fourth and final section includes his drawings. For this section, a careful selection of 100 works has been made that covers the lines and marks made in pencil or ink and the outlines achieved with scissors cuts and collage. The idea was to use the 100 drawings selected to create a closed world of works in themselves, rather than to show a group of preliminary drawings or sketches. This exhibition within the exhibition is an attempt to provide a double reading of the visual world of Eduardo Chillida, of the relation to the history of Western art of the basic concepts in his form of visual perception. The works of hung paper, called gravitations, are considered here as part of his production in sculpture-reliefs constructed with paper, not just as simple drawings. In this respect, the exhibition is less a run-through of the artist's working life and more an attempt to explain to the observer the basic ideas and concepts that Chillida questions, reexamines, and vivifies, in other words, the concepts to which he gives new form. Chillida´s work does not pose problems of modeling, or representation, or expression, but looks rather at metaphysical issues, i.e., issues that have more to do with the formulation (through the material) of concepts such as limit, vacuum, space, and scale. All of these are interrelated and subject not only to the material (earth, steel, granite, etc.) in which they are expressed but also to the observer (his position, pathos or sensibility, and his tact).