The body of the sample of works speaks to three fundamental sociological aspects: the burden of social recognition that is imposed upon the value, desire as a reaffirmation of possession of the object, and the body as a palimpsest of hermeneutic bonding. The "pieces" of this "on-site museum" range from large and small shoes, to religious images, comic books, and a live pet. The museographical cube were the walls of the houses, inside and out, a shelf, a pair of tables, a lifebelt and the asphalt itself. The wall text, sheets of paper that gave the ownerí­s name, the number of their house and the literal transcription of their testimony in relation to the exhibited "object". The public, the owners of the "pieces" and their families, the curious arriving from all directions, the religious aunts and uncles of the artists, Tranvia Cero in full complement, all elevated in an artistic vehicle of alternative artistic perception, personally guided by Falco and treated to home-made liquor. A propitious atmosphere for consulting, one with the other, regarding their preferences; I offer here a random sample of the results:

Piece: "Poncho", gray knitted woolen poncho, slung on a screwdriver that hung on a nail on the front wall of the house..
Proprietor: Mrs. Monica Vera.
Address: Pululahua Street E1-06.
Testimony: This is the poncho that belonged to my maternal grandmother, Maria Elena Chiriboga, who died 12 years ago. She was the person I loved most in my life. I lived with my grandmother from my birth until I was married. At 90, my grandmother fell ill and I was there with her, looking after her. When she died, I returned her things to her two daughters, but the poncho was the only garment that I held back. This was my grandmotherí­s favorite poncho because my mother gave it to her out of her first earnings. I plan to keep the poncho in my family as I consider it the most truthful for the enormous sentimental value that it has for me and my family.

Piece: "Umbilical Cord" held in the diminutive hands of a little angel, body of resin and wings of tulle, sitting on a table on the sidewalk in front of the building..
Proprietor: Sra. Natalia Naranjo.
Address: Casitagua Street E1-07.
Testimony: "This is the umbilical cord of my son, Leonardo Amacoria, that fell off shortly after he was born. By means of this cord, he was able to feed when he was in my womb. Heí­s my only child. Heí­s three now. This pupito (13) has true value because it was by means of this that I remained united to Leo throughout the nine months I had him in my womb; moreover, it is something else that I had inside me. When I was pregnant with the boy, I had many problems in my home: I spoke to him a lot in my womb and felt that my baby understood what I told him. I think he knew when I cried or was sad, since he moved about a lot when that happened. Now that Leo is bigger, we still have a lot of communication between us."

Piece: "Little ceramic horse", approximately 12 in tall, painted red and black, exhibited on the sidewalk in front of the house, on a shelf..
Proprietor: The Moreno Gomez Family.
Address: Pululahua Street E1-18.
Testimony: "Twelve and a half years ago, I suffered an accident where I destroyed the calcaneum of my foot. I think I nearly wound up bed-ridden, as the doctors didní­t give me any assurance that I would ever walk again. I thank God that I can walk again now. I spent three months in bed and, during that time of convalescence, I started to paint this little ceramic horse. I had never painted anything before, but I was inspired to start by watching my wife, Yolanda Gomez, paint these figures. There are people who have offered to buy the figure from me, but Ií­m not interested in selling it. My wife and I have a sentimental appreciation for this little horse as a symbol of the overcoming of a difficult situation in my life."

These are pieces and testimonies, paradigms whose material and reflexive condition ratify the coherence of the principal idea of the artist. Through it we have considered the felt of Bueys, the "Hymenoplasty" of Regina Galindo, the "self-portraits" of Frida Kahlo..., a great finding developed in a peripheral universe.

Notes:
(1) From Ciudad Jardin, Ciudad Mestiza. Text of the Tranví­a Cero Collective. Catalogue of the 2nd Al Zu-rich Urban Art Encounter. Quito, 2004.
(2) Quito, capital of Ecuador has 1.4 million inhabitants.
(3) The Virgin of the Panecillo (Bread Roll is the name of the hill on which she is built) was made in 1976, with pieces of aluminum, by the Spanish sculptor, Agustin de la Herran Matorras, as a replica of a piece 12 ins tall, sculpted in the 18th Century, by the similarly Quito-born sculptor, Bernardo de Legarda.
(4) Pablo Barriga, Quito-born, plastic artist, professor of different art schools in the city.
(5) Marie Fernanda Cartagena, Quito-born, curator and critic.
(6) Samuel Tituana, visual artist, Director of the Al Zu-rich Urban Art Encounter.
(7) The Cosas Finas Collective is made up of the Otavalene artists: Efren Rojas, Inty Muenala y Oscar Naranjo.
(8) Otavalo, a city in the province of Imbabura, located to the north of the Ecuadorian Andes.
(9) Chimbacalle, one of the first workerí­s neighborhoods in southern Quito, to which, on 25 June, 1908 arrived the railroad, and which became a station for that now disappeared mode of transport.
(10) Beryl Korot, founding member of the "Raindance" collective and co-editor of the magazine, Radical Software.
(11) Technocumbia: An urban cultural movement, generated from a musical style born in 1990í­s Peru; a genre that mixes traditional Andean music with electronic instrumentation, similar to Nortec in northern Mexico.
(12) From the catalogue of the work "Lo Bueno, Lo Bello, Lo Verdadero," artistí­s text. Quito, 2005
(13) Pupo: colloquialism from Argentina, Bolivia, and Chile. A scar that forms in the middle of the stomach after the umbilical cord is broken and dries up. Navel. Belly button. http:77www.diccionarios.com/consultas.php 2005

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