Since Pedro G. Romero (b.1964, Aracena, Huelva) began to work as an artist in the mid-I98os, his projects have assumed a particular, singular, even eccentric place, although he has not by any means sought to stand alone or follow an individual path. His modus operandi-beyond simple labels such as collective, cooperative, and sociable-has consisted of contriving indices, dispositives, apparatus, in short, machines associated with the field of art.
