The idea for Concreta arose from a shared desire and an absence: the desire to construct a platform from which to contribute to the contemporary thinking of images through a twice-yearly journal and a series of artists’ books; and to do so from a precise place, a community marked by the systematic disappearance over the last fifteen years of cultural infrastructure dedicated to the visual arts. This local situation of cultural crisis comes on top of the global collapse of financial capitalism, and points to a paradigm shift on many levels, not only macroeconomic but also, and above all, micropolitical, portending a dark future for culture and the arts. No longer considered as a means of obtaining a critical knowledge of the world or as a tool for thinking and action, culture and the arts are now reduced to mere entertainment. For these reasons, right from the outset, Concreta views itself as a platform of resistance against the cultural impoverishment of our present, and chooses paper and web formats to elaborate a proposal that arises from a precise place yet without circumscribing itself to its geographical confines. The specific aim of this publication is to help elaborate a theoretical frame for research into the image —inside and outside academia— with a special focus on the photographic image and art history, yet grounded in all the disciplines of knowledge that understand the image as a place of friction and anxiety, as a structure of meaning and a dialectical force field.