The work Anti Heels presents a pair of high heeled shoes placed on an apparatus whose shape is reminiscent of Tatlin’s Tower. The climb up the surrounding staircase brings the visitor closer to the shoes placed in its upper section, but forces him to look at them from beneath. While climbing the apparatus he can see that these are not ordinary high heeled shoes, since the heels are located in the front part of the shoe. Television screens enclosing the space present a model wearing such a pair of shoes and walking along a circular runway, tripping from time to time but rising and continuing to march. In order to keep her balance she is forced to walk bent over, and her body stoops forward in an anti-feminine and ridiculous posture. The malformed structure of the shoe gives rise to a deconstructivist process that awards visibility to cultural mechanisms that lie at the basis of the feminine posture related to high heels: such shoes are the product of a sexist, chauvinist society, which forces women to distort their bodies in order to adapt them to the feminine image that became rooted as an idea in the capitalist Western culture, in which the female body was objectified.