The practice of Spanish painter and street artist Julio Anaya Cabanding presents a challenge to art history. On dog-eared pieces of cardboard and graffiti-laden walls, he reproduces masterpieces of Western art. In contrast with their environments and fragile substrates, his trompe-l’oeils establish trans-historical dialogues with the works of past masters.  Irreverent in practice yet respectful in technique, Anaya Cabanding’s copies examine ideas to do with authorship, authenticity and ownership as well with the remits of the institutions that govern the worlds of historical and contemporary art such as conservation and transmission.