The work of the Argentinian artist Daniel García (Rosario, 1958) is mainly made up of paintings and drawings, but, over time, he has incorporated other formats or devices such as books, records, videos and photographs into his practice. In this sense, his work admits the qualification of heterogeneous; however, not only the body of work allows this qualification but also the variety of problems that he explores in his art, even if they are repeated in a recurrent way: the body and its representation, the history of art and images, the relationship between words and things, memory and oblivion. What we propose in this article is an introductory review of García's work, with a focus on some of the aspects mentioned, and with a constant intention to establish (as García does in his work) relationships with cinema, philosophy and literature.