If there is a common note in the career of Antonio Cruz and Antonio Ortiz, from their splendid housing on Doña María Coronel street in Seville (1974-1976) up to the stadium, currently under construction, for the Atlético de Madrid Football Club, that is sobriety. A sobriety based on compositional and tectonic rigor and on technical skill; the same sobriety that characterizes, starting with the title, the exhibition ‘Cruz y Ortiz 1/200... 1/2000,’ on view at the Museo ICO in Madrid until 22 January 2017. Meshing models and drawings of different scales produced over the last forty years and placed on long tables throughout the itinerary, the show consists of three exhibition spaces and two audiovisual rooms. Fifty projects are presented, classified in six sections on rather forced but nevertheless efficient criteria: ‘Proyectos esenciales’ (key projects), ‘Proyectos destacados’ (prominent projects), ‘Proyectos de geometría curva (curved geometry projects), ‘Proyectos donde predomina el espacio interior’ (projects where the interior space prevails), ‘Proyectos con geometrías quebradas’ (projects with broken geometries), and, finally, a theme under which class and individual coincide: the new Atlético de Madrid Stadium. The beautiful building models made by the studio play a prominent role in the exhibition, as do the five magnificent photographs by José Manuel Ballester of some of the projects by the Sevillian studio. The exhibition is rounded off with the screening of The New Rijksmuseum, by Oeke Hoogendijk.