It was a before and after. Su eye and sensitivity were essential to change the paradigm in Mexico of theatrical set designtear down the idea that it was a set in order to establish it as an integral part of the theatrical machinery, an element that by itself should communicate.
In some of his works, the scenery becomes poetic. Spaces that expressed emotions, that accompanied the actors as internal dialogues and dilemmas, lights that were not only artifice but also a determining intention.
It was part of a vibrant and formative moment in Mexican theatrical art. He was a continuous collaborator of directors such as Ludwik Margules, Héctor Mendoza, Hugo Hiriart, Adam Guevara, Ignacio Retes, Julio Castillo, Salvador Elizondo and Juan José Gurrola.
His work, recognized in Mexico and abroad, has been the subject of two publications: Alejandro Luna, scenographer, book published in 2002 by L’Union des Theaters de l’Europe, and Alejandro Luna, stage designpublished in 2001 by the then National Council for Culture and the Arts -now the Ministry of Culture- the INBA, the FIC and Ediciones El Milagro.