Muñoz's figures, virtually identical, arranged in an almost closed circle confront viewers with their own loneliness in the crowd. The viewer, as outsider, is sensitised to notions of proximity and distance - in emotional and in spatial terms. The proximity of Muñoz's figures challenges the impossibility of the viewer getting closer to them, the formal oneness of the figures highlights the outsider's isolation and alienation. The impossibility of the viewer finding a place of his or her own is contrasted by the community of the figures - and yet, lacking actual feet to stand on, their apparent security is uncertain, distinctly precarious. ___
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