In the vast and various field that is the debate about appropriation, histories are unearthed and identities bear fruit. What happens then, when an artist proposes to co-opt massive rocks that have fallen from the sky, unseen and unrecorded? Who lays claim to them when they lie on a monotonous terrain with just an empty horizon in sight? When the artist duo Guillermo Faivovich and Nicolás Goldberg planned to displace a 4.5 billion-year-old meteorite from Campo del Cielo in Argentina for Documenta 13 in 2012, the Moqoit First Nation, for whom the rock and the place were sacred, protested and the