In the church besides the Monastery of San Pablo the Museum a selection of works by Gustavo Torner, one of the founders of the Abstract Art Museum in Cuenca, is installed as a permanent museum. The church from the 16th century, which was previously restored, is located in an impressive site on the Hoz del Huécar cliffs, opposite to the Hanging Houses.

From the exterior, the only indication of the gallery's installation is a new revolving glass door at the front of the church. Inside, the gallery walls are freestanding autonomous elements that incorporates lighting preserving the Gothic interior.

Thus, through a contained spatial structure of free panels and the spaces between the restored stone walls, a precise architectural relationship is established with the scale of the church. The gaps between the old stone walls and the new painted wood walls give the installation some tension, but the views over the freestanding walls is the most dramatic aspect of the design. The spaces for art, and the movement within them, are more complex than the linear nave of the churchit inhabits. A cube-like room, roughly in the same location as the altar, is accessed from the back. So instead of a straight path, both visually and physically, a curving loop is created, in what can be seen as a subtle means of inhabiting the church without adopting its linear axis or symmetry uncritically. 

While the white walls insert a different scale in contrast with the church, the framing of the artwork adds another layer of complexity to the spatial quality of the installation. Rather than merely hanging pieces on a wall or sitting sculptures on the floor, axial views through openings make the artwork interact with the church; in the case of the Rosario chapel, one of Torner's sculptures is set on the axis visually connected with the main room through an opening displayed between the art pieces.