In 1996 he discotinues working with his galleries in Germany, Colombia, Spain and France, and moves with his family to Costa Rica where he will live until 2001.
During tha period he starts a close collaboration with Virginia Pérez-Ratton, at the time the Director of the Museo de Arte y Diseño Contemporáneo and later founder of the Fundación Teorética.
Capelán has participated, among others, in the biennials of Venice (Italy), São Paulo (Brazil), Kwang-ju (Korea), Johannesburg (South Africa), Site Santa Fe (USA), Auckland (New Zealand), MERCOSUR (Brazil), Bienal del Barro (Venezuela) and Bienal Paiz (Guatemala).
Professor at the Art Academy in Bergen, Norway, between (2000-2006) and a guest professor at the Art Academy in Oslo teaching as well in New Zealand, Italy, Cuba, Spain, China, Sweden, Colombia, China, New Zealand, Australia, Germany, Mexico, Spain, and Uruguay.
Among those who have written on his work, are: Gerardo Mosquera, Thomas McEvilley, Paulo Herkenhoff, Ticio Escobar, Catherine David, Virginia Pérez-Ratton, Carla Stellweg, Fernando Castro Flórez, Sune Nordgren, Jonathan Friedman, Nikos Papastergiadis, Octavio Zaya, Gavin Jantjes, Ann-Sofi Noring, Jan-Erik Lundström, Victoria Lynn, Maria Lind and Edward Sullivan.
Capelán's language includes drawing, print-making, painting, photography, installation, sculpture, objects, performance, workshops, lectures and texts, as well as his activity as curator.
Every time Capelan announces the limit of a concept or the insufficiency of one model he is also invoking the question of sufficiency and need to take a step in another direction.
(Papastergiadis, N 2008) Hooks imply games of irony, one of the fundamental mechanisms that art uses to distance itself from its own setting, observing it, commenting it, as if it were something outside itself.