Known for work that exceeds the bounds of the galleries, Alfredo Juan Aquilizan’s projects have taken on forms that relate history with community, community with place, places with objects.  And if we are to follow through the logic of such we would realize that we would be hard put to separate form from foundation. The formula could be reversed and still the consequent logic would persist. Aquilizan’s forms are manifest in the foundational character of the work and often, if not always, generates a negotiation with the viewer or visitor.
 
Aquilizan continues this practice by baring architecture and through the displacement of objects. Simply, he reconstitutes a space postulated as functional, generates a necessary nod of negotiation from the viewer/visitor and at the end of the exhibition, things are returned to their places. The shift of objects, from one point to another, needless to say, contain the shifting of space. And space once shifted recreates our own negotiation of the site. The site once recognized as familiar becomes an other site, one charged with possibility, one empty of meaning, one dead vacuum. All of these become probabilities at the same moment. The reconstitution of the objects also becomes part of the creation of forms which inherently contain the context’s content. We must not misapprehend this meaning of form,  as it is not simply the shape of an object; rather it is the process, the method of manufacture, the way in which elements are disposed in a context of exhibition, which all come to provide an analysis of form (Bourriaud, 2001, 9). For in form, we find the essence of a work.