Nadir Afonso, Portuguese painter and architect, developed on the forefront of world art a series of kinetic compositions, which he designatedunlimited spaces. In the 1950s he presents, in Paris, the work Espacillimité – Kinetic Machine (1956), as a mechanically animated canvas with a cyclical circular movement, seeking to imprint dynamism to static plastic forms. Based on that premise, the Espacillimité installation explores the potential of current technology to provide a new perception of the homonymous painting by Nadir Afonso, while emphasizing the author's conceptions by transposing two-dimensional forms to a three-dimensional and temporal realm. Projected on a set of prisms through video mapping, the original graphic elements are recreated according to principles of fragmentation and mutation of rhythmic patterns. In order to enhance the temporality and sense of harmony of the work, the visual narrative is accompanied by the piano piece Arabesques # 1 by Claude Debussy, evoking Nadir Afonso’s repertoire of references. This installation seeks to provide a renewed experience of the work, through the mutation of signs in an articulated sequence of form in space and rhythm in time.