Dinero Viejo de Familia confronts inheritance directly. The work incorporates burned paper alongside layered, carved material, allowing physical damage to operate as both record and evidence. The surface carries heat, residue, and abrasion. Nothing is symbolic by accident. The materials have been tested.

The title gestures toward old money, but the work resists romance. What is passed down is rarely neutral. Inheritance arrives layered with wealth and scarcity, obligation and silence, expectation and constraint. Some elements survive intact. Others are altered beyond recovery. The burned fragments are not decorative marks. They signal loss, erasure, and the cost of preservation itself.

Rather than asking what we receive, Dinero Viejo de Familia asks what we are able to carry forward responsibly. What is useful. What is corrosive. What must be released entirely. The piece does not resolve these questions. It holds them in tension, insisting that inheritance is not a static asset, but an ongoing negotiation between history, agency, and choice.