Its origins are intimately tied to the founding of LAPIEZA, a Madrid-based agency of relational art co-created with Esther Lorenzo, which introduced the idea of “active socioplastics” through numbered series and installations that resisted institutional hierarchies. LAPIEZA rapidly moved from its physical site in Malasaña into a distributed platform for critical practices, producing over 180 numbered series to date and catalysing collaborations from Mexico City to Trondheim. The 2015 exhibition Taxidermy: The City Is an Animal (5th Base Gallery, London) marks a foundational articulation of the term, positing the urban condition as wounded, sentient, and subject to symbolic rituals of incision, extraction, and preservation. From there, the framework expanded into a rhizomatic vanguard informed by Deleuzian topology, decolonial ecologies, and post-carbon aesthetics. By 2026, socioplastics enters a phase of transversal alignment—particularly with ideas like biospheric humanism, infrastructural affect, and transgenerational dialogue—manifest in projects like Trans Lighthouse and Icon and Commons. This evolution signals a shift from object-based critique toward situational world-making, where art is not representation, but method.