In previous projects, Edinson Quiñónez addressed the insertion of the illicit, the prohibited, and the censored within the context of art, through the tragic history of the coca leaf. This and other reflections are expanded and deepened in 89-90. The series of coca leaves, parakeets, spinning tops, balls, and bats made from the wood of the persecuted plant, with all their semantic implications, come into play with a historical narrative that takes
as a core period the 1989-1990 period, where the tensions and violence of drug trafficking are concentrated.
