The series Buracos (Holes) is at the same time several indistinct things: it is a collective sculpture, a public installation, a popular intervention, and also a conceptual appropriation, an urban ready-made, a photograph and, last but not least, a political work, and not necessarily in this order, for here what matters is multiplication and not sum. Nevertheless, each hole in a street in Rio de Janeiro raises not only a tridimensional warning for pedestrians and, specially, for street traffic, but registers as well an unquestionable improvisation that lays further beyond the horizon of arte povera or the Dadaist discourse, perhaps in its wildest trend.