Fabián Ugalde (born in Queretaro, 1977), is a Mexican artist whose body of work consists primarily of prints but also includes sculptures, paintings, and installations. Through his artistic career, Ugalde has focused his investigations on the artistic language and its evolution through the history of art. The question that pierces through most of the works of the artist can be formulated as such: "Is contemporary art capable of saying anything new, or is it bound to repeat the old axioms, just in a new language?".

The collection of Punta Médica includes both sculptures and prints from the artist. Artist's most recognizable works where he digitally intervenes classical artworks, are located on the 6th and 7th floors. Velázquez On Pause and Emperor Signal Failures present classical paintings appearing glitched. However, if the glitch is a random error, interventions of Ugalde are always precise. The artist intervenes these classical works in a manner that at the same time adds a new aesthetic to it and contributes to our understanding of these masterpieces. The aesthetic side of this intervention can be spotted, for example, in the way that Las Meninas glitch exactly at the highest point of the wrists of the emperor's daughter, stretching them into infinity. The artist had to find where to draw that line so that the resulting abstraction could look aesthetically pleasing as well. 

A series of prints, titled Progresiónes can be found at the entrance of Medicina Nuclear. The forms in his abstract prints evolve, creating patterns, gradients, and illusions, appearing as a zoomed-in part of a greater, perhaps figurative image. At first approach, these abstract works seem very distant from the main body of work of the artist. However, these asbtract works deal with artistic language as well, only at the very fundamental level. Here, the artist uses a technique similar to Cézanne, searching for the fundamental element of the image. Unlike Cézanne, Ugalde is not searching for a perfect form of a brushtroke in a pictorial space but for more basic, indivisible building blocks that constitute an image irrespective of the medium, be it a painting, a digital image, or a print? 

His Cuatro Complementos, found in the same area, is an abstract sculpture that plays with the viewers' perception of form. Reminiscent of the postmodernist move to the "shaped canvas" in the 1960s, the sculpture doesn't just suggest an alternative form of the canvas, it rips it apart, allowing only our pattern recognition to make sense of it as one coherent object.

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