In her Post-Partum Document (1973–79), Mary Kelly closely followed her infant son’s acquisition of language, tracing his first written words while simultaneously narrating the conditions under which they appeared. As media studies reminds us, words are a memory-storage technology, and the written word, which organizes its contents into straight lines of historical thought, shapes memory to fit. Whatever does not make the cut is at the crux of Kelly’s ongoing aim to propose an alternate history, and so it makes perfect sense to start the account at this preliminary point, as a record of the

“How to generate a living sculpture nowadays?” Abraham Cruzvillegas asked in a notebook and online video that complemented his street-bound activities for Documenta 13. What about a sculpture without fixed form or shape? A definitely unfinished sculpture? A nonbudgetary sculpture? A sculpture made with nothing? A tale that is being written or told as a sculpture? These questions suggested a shift in the Mexican artist’s practice—a turn from autoconstrucción to autodestrucción. Outlining the largely invisible, unmarked, basically nonexistent works that Cruzvillegas placed throughout the city