If the tense concentration and the expressive line led work on trains to be visceral and dynamic, this way of working through gestures has moved to other spaces, the walls. In particular, Kenor has been able to iniciate a dialogue in abandoned industrial sites of Barcelona, Berlin, Paris. In such inhospitable spaces, his listening exercise was based on arranging the remains of each space (cable, rusty iron crossed on beams, glass, etc) so that those spaces themselves have transmitted the dimension and features of the work. From these spaces, which have lost their architectural value and in which the notion of spacetime is fuzzy, Kenor has obtained a piece of work that fits that dismissal, fragmenting lines, deconstructing colour space, not limiting his work to a particular restricted space but extending it over floors and ceilings, in order that the work carried out and the walls that make it possible relate harmoniously.

Starting in 2000, his evolution led him to expand his artistic vocabulary, "to fight against the grayness of cities" with multicolored murals that in their lines and geometric shapes contain the mere essence of movement. “I never make sketches. My creative process usually begins by composing or choosing a song and then performing it not with musical instruments but with brushes and sprays and colours” tells Kenor, who continues to disseminate his public pieces around the world.