The five main pillars of the ground floor of the museum are restored and intervened in a strict grayscale. Their shape resembles the geometrical silhouette of a man —a sort of modulor reminiscent of Torres García— with open arms and legs, on whose hands rest the beams supporting the upper floor of the Museum. The sequence of monochrome abutments interferes with the complete observation of Croma VII, located at the back of the room. The series of paintings is thus seen through the sieve of architecture, and both can only be seen by means of the kinetic action of the viewer.