Yo transporto, the work of Giandomenico Tonatiuh (G. T.) Pellizzi, can be visited at Sala de Arte Público Siqueiros through May 15. For his first solo exhibition in Mexico, G. T. Pellizzi (Morelos, Mexico) proposed an unusual work that transforms the exhibition space into a monumental container measuring 9.5 x 3.5 meters. Entering Yo transporto, visitors are immersed in a large box that complies with all the requirements for the packing and shipping of artworks, as it follows every specification for manufacturing in wood, pallets, plywood, fumigation process for international transport, and interior ethafoam lining (polyethylene foam). The giant container comprises 171 pieces arranged in relation to the space and the architecture of the SAPS, which in turn can be converted into 171 shipping boxes of different shapes. Yo transporto, as Pellizzi puts it in a SAPS press release, alludes to the ontological construction of knowledge through one of the most common practices in the process of globalization of the arts: the transit of works, artists, discourses, and cultural experiences. The artist also notes the dialog that his work establishes with Siqueiros' own late production, based on the creation of "transportable" murals with the idea of bringing them to different audiences and making them more accessible. Pellizzi describes his large container as "the private space of these objects when they are not on display; the medium that connects them with different institutions in the global scene, in a network of circulation and motion. What gives the objects value is to be seen and to travel." As the project was being built, the issue emerged of budget cuts in cultural institutions, which have impacted a number of museums in Mexico and an even larger number across Latin America. Thus, Pellizzi found a favorable moment to connect with the public financing of museums, and in collaboration with the SAPS proposed a self-financing project that started with the calculation of its production costs (materials to be used) and its operative costs during the exhibition period: carpenters, electricians, museographers, curators, designers, insurance, warehousing, maintenance, management, local transport, institutional services, communication, and protocolar activities (cocktails, dinners, and other fundraising-oriented social functions). The costs were added up and then distributed among the 171 pieces (containers) that comprise the large installation (mega container), thus assigning an economic value to each and allowing the museum to recoup its investment. The 171 pieces in Yo transporto were donated for the artist to the SAPS so that collectors and museum patrons can support the project actively participate in it with their purchase. Those who acquire them will receive via regular mail, after the exhibition closes, one of the containers. Each will be signed by the artist and comes with a serial I.D. number that follows the parameters used in regular art shipments, as well as the documentation and stamps required. Most of the pieces are unique in shape and size; some are three-dimensional and some are flat, and their dimensions vary between 50 x 50 cm and 2 x 1.50 m. Yo transporto can be approached from different perspectives: its immersive character as we step inside a large container; its view from the standpoint of someone looking at a shipping box (from above); and as a space where visitors can observe the entire process of creation of the 171 pieces: drawings, models, materials, and machinery for the construction of the work(s) of art.