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.

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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.

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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.