Surprisingly and very entusiatics we arrive to BIZCO art magazine 7. The number seven has several symbolic meanings: seven days has the week; the rainbow has seven colors and the deadly sins are seven, as many other apocalyptical visions of the End (Seven seals, seven trumpets, seven angels, etc). To initiate this voracious issue with no specific theme, as usual, Mariano Petit de Murat brings with fantastic digital worlds to look carefully and discover. Alejandra Vega invite us to contemplate objects charged with a strong presence of the absence. The chair has a leading role in Tokio Maruyama’s performances; equilibrium, the will to power, the presence and contemplation are enhanced in this astonishing series (our cover). Almost pictorical abstractions, imposible textures, writing phantoms and a kind of cult to failure is the result of a visit to an art fair by Victor Martinez. Simon Barrios Bravo show us the sacred potential of the portrait in these days of lack of beliefs. The symbols of divinity are disrupted and subverted by BruJo in his series GLDN $uper Gold. Pancho Lopez develop some secrets of the Habana in his photographic essay The City of Colums. The idea of feeling embroiled gives Leonardo Gonzalez the chance to create a performance in collaboration with the photographer Claudio Poblete. An unexpected graphic world is extracted from the chaos of urban scenes in the work of Teresa Campe. Carlos Alvar captures the intimate moments where loneliness is our sole company. The acid sense of humor and sharp look of Pablo Casacuevas in his Muñecones series delight us with surreal situations. Finally, The Critic Bear presents his new Stickers Collection, just what you need to start a critical debate against the expanded topics of contemporary art scene.