The poster for the 2026 Feria Real de Algeciras, by artist Marga Guinea, has become a viral phenomenon following its presentation. The artwork, a collage created without digital tools, depicts a flamenco dancer in a red dress with flowers in her hair, but the detail that has ignited social media and generated intense debate is a pair of black-rimmed glasses on the figure's face.

Guinea, 60, born in Madrid and with an Algeciras soul, explained in her studio that the inclusion of glasses is a personal statement. As a young woman dressing as a flamenco dancer, her mother would tell her to remove them because "they look very bad," despite her being myopic. "Why can't they wear glasses?" the artist wondered, turning this detail into a nod to her own childhood and to all women who have felt limited by conventions.

The artwork, which incorporates iconic elements of Algeciras such as the Ferris wheel, La Palma church, the frogs from the Plaza Alta fountain, and seagulls, was created from donated magazines and recycled materials, reflecting Guinea's philosophy of life and work. The dancer's face is a reference to Chiquita Piconera, the muse of Julio Romero de Torres.

The official presentation of the poster was marked by an institutional hurdle. Initially postponed because the mayor, José Ignacio Landaluce, had not seen the work, the Councilor for Fairs and Festivals, Juana Cid, suggested Guinea remove the glasses. The artist refused, defending her work and creative freedom, and stating that she "loves a fuss."

Guinea, who has dedicated about twenty years to manual collage, considers this technique "the poor child of painting," often undervalued. Her studio, La Sala 23, is a reflection of her art, filled with rescued and transformed objects. The artist regrets that the controversy has affected her daughter more than herself, but defends that "art is an expression to beautify" and that diverse tastes make the world "less boring."

The serious expression of the flamenco dancer, which has also drawn comments, is explained by Guinea as a moment of rest after dancing, a realistic representation that "we are not always looking divine." The artist regrets forgetting to add a soft drink in the figure's hand.