You are in for a double treat here. Cuenca’s first contemporary art museum, opened in 1966, occupies the largest of the casas colgadas and offers a firsthand look inside one of these late Gothic engineering marvels. As if that weren’t enough, it also has a vivacious collection of mid-20th-century Spanish abstract art. It’s hard to know where to look first—at the details of the building, out the windows to the stomach-lurching gorge, or at the aggressive art on the walls. Studying the art that Cuenca has embraced does, in fact, demonstrate how to look beyond the picturesque to the play of angle and color. Although the museum’s art represents an era of pure abstraction, it also echoes the city. Dense, knot-like black snarls on the canvases of Antonio Saura, for example, could be maps of the city’s tangled alleyways. The segmented color blocks of José Guerrero resemble the painted walls of the old houses. The thrusting gestures of Fernando Zóbel (founder of the museum) mimic the verticality of the Cuenca streets. The works span a broad period in the output of the artists; while Saura’s late work was purely abstract, he went through a much earlier semi-representational surrealist phase represented by a grotesque portrait of Brigitte Bardot that makes the French actress look like an escapee from Picasso’s Guernica.