Carlos Amorales has a baroque sensibility. And like his forebears in the sixteenth and seventeenth centuries, his essential trait is ingegno (feebly Englished as wit). The baroque theoretician Emanuele Tesauro, in his 1654 Aristotelian Telescope, defines ingegno as the divine ability to generate metaphors by “binding together the remote and separate notions of the proposed objects.” Amorales’s ingegno brings together sound, sight, and material and combines them to form a composite that is simultaneously personal and universal: like a divinity, he creates something out of nothing.