The first series, called Manipulaciones, is composed of 4 sequences of about twenty photos each and reproduces anonymous images from encyclopaedias or technical photography manuals. These illustrations, collected by the artist, represent practical advice intended to help the apprentice photographer to correctly execute basic gestures (how to clean a lens, how to change a film, etc.). There is no aesthetic value in these shots, since their sole role is to describe a stopped action. We tend towards an objective, neutral photo, devoid of affect.

In his Demostrar series, he draws on the abundant iconography of our time by collecting press cuttings from the major Spanish newspapers showing a person exhibiting something. This work of reappropriation draws on reality to paradoxically escape from it insofar as these photographs are taken out of their context and this decontextualisation often no longer allows us to understand the original situation. The meaning of the photo is hidden under information that is incomplete for us, since we have no caption, no date, no element to rely on. By removing the possibility of giving an intelligible explanation, Aballí forces us to ask questions and to give meaning to an orphaned image. He brings out the universal by collecting hundreds of documents that have passed into the public domain and proposes that we consider the very fact of showing rather than the object shown as the subject of the photograph. The monstration becomes the subject of the work itself.