Stemming from my research in the 1990s on the function of the art object, these works investigate the function and social meaning of art spaces. The Bicycle Pavilion is a point of encounter between a number of social groups: on the one hand, the visitors to the Jumex Collection galleries—an interesting mix of art world figures, high-society types and local school children—and on the other hand, workers at the Jumex factory, who use the pavilion to store their bicycles. Vanart I & II is a sort of demographic bait-and-switch, where the wrong product is advertised to the wrong constituency: a billboard for a popular shampoo is installed in a private art gallery, which is essentially an elite showroom for luxury commodities. Both works highlight the place of economic groups in society, while the installation Public Practice | Private Lives exposes the cultural and economic currency generated by four artists through their contrasting public and private practices: for instance, David Alfaro Siqueiros’ public role as revolutionary muralist was supported by his private studio practice producing easel paintings for the bourgeoisie. In Instalación por Terence Gower, the soaring space of the Torre de los Vientos is cut down to the dimensions of an airless government office, the standard habitat of the petty bureaucrat. And finally New Monuments for New Neighbourhoods documents my collaboration with another artist to design symbolic, monumental sculptures for Mexico City’s new suburbs.