The End of the World does not appear as a spectacle, prophecy, or narrative climax in Emiliano Mondragón’s paintings. Instead, it is treated as an already assumed condition: the point at which the human figure can no longer be understood as a cohesive, self contained entity. Neither catastrophe nor future collapse are depicted. Mondragón begins from a quieter and more unsettling premise, that the end is not an event to be represented but a structural shift already embedded in
