After 1989 she enters another artistic period, which she herself will call Theatres. Here she combines the subject, definitely in the line of still life, with the refined technique she had masterfully developed by study and work. In relation to this, she sensed what she wanted, she knew that her brother Ernesto, an artist known as San Avilés, had managed to master impeccable painting, but he once said, "I cried because I didn't know how to do it, I knew what I wanted, but not how to do it. I prepared my fabrics and then I was painting with waxes, with means emerging from my research, to then give it what I call the finish, the last thing I do, is a wax mixed with acrylic and other chemicals, it is a very large little secret that I keep."

She concentrated the subject on a kind of augmented view of the shapes in the foreground. The painting will surface by removing any auxiliary perspective. It now focuses on a composition that removes conventional codes. It can be directed on different composition axes, but... "At the same time I want to offer a mystery, that people as they see it will prepare to dream, many times I have not wanted to find the traditional still life, sometimes I get it right, sometimes I do not, I wanted a certain something that seems to fall on us from the sky, in accordance with a huge mutation that we are living."

For Ana María Martínez oranges are oranges, a bunch of grapes is a bunch of grapes, but within the contemplation of the world with its turbulence and opulence, as she herself said: "a theater and us: actors and spectators". Her style was personal. It was her feeling of life and art in a sometimes metaphysical relationship. The viewer will see there what their feelings and affections generate for them. Perhaps a mood, perhaps an erotic burden that concerns the sensuality of the round shape and its velvety textures, as Mallarmé would say "art is not in the painting of the object itself, but in the effect it produces".

There is talk of hyperrealism in this latest series. It could be so. But "for me fruits are my characters, it's part of my life. I don't feel them as such, I don't see an orange being broken. I see the person is broken. My oranges are not the same. I like to play with the light."

One thing that is important in the work of the Salvadoran painter is the impeccability of the drawing. With themes in the imagination, part of a dream to experience, with austerity and work, the blank canvas presented itself before her eyes.