In his native Spain, Santiago Sierra’s stylish production took the form of post-Minimalist intervention (e.g. digging the floor of a medieval-cloister–turned-contemporary-art-space, or covering a gallery with pristine aluminum billboard supports.) When he headed to Mexico a couple of years ago, however, Sierra gave up his institutional and historical safety net, since the artistic establishment in amigo-country is notoriously wary of formalist—or post-formal—pyrotechnics. Whether by design or accident, Sierra’s site-specific works in Mexico City have ended up addressing the idiosyncracies of