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The work consists of 240 wooden triangular plots bordered with wooden frames, filled with 23 tonnes of soil collected from different parks and gardens across London including , , the and. In 1994, his work was shown in the Fifth ; in 2002 in the XXV ; in 2003 in the Fiftieth ; in 2005 in the 1st ; in 2008 in the , in Colombia; in the Tenth , and the Seventh in Portoalegre. His work has also a part of the following biennials: 21st Biennale of Sydney, Australia 2018 ; X Bienal de Nicaragua - Fundación Ortíz Gurdián, Managua 2016 ; Sharjah Biennial 12, United Arab Emirates 2015 ; 12 Bienal de la Habana, Cuba 2015 ; 9th Shanghai Biennale, China 2012 ; dOCUMENTA 13 , Kassel, Germany 2012 ; 12.

His song lyrics and texts about art, politics, and culture are a layer to be added to his aesthetic practice. Retrieved 17 July 2018.

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Cruzvillegas was grew up in , a district in the south of Mexico City. He studied Philosophy and Art at the UNAM. He later became a professor and went on to teach Art History and Theory at UNAM. Along with Orozco, , , and , Cruzvillegas was considered part of a new movement in Latin American art which has been compared to the boom in Britain in the 1980s. His works have been shown throughout America, Europe and Mexico. Elements of the Autoconstrucción project were shown amongst others at in March 2012, in the Museum of Modern Art in Oxford in 2011, at the in 2013, and at the , in 2014. His work is held in a number of collections, including , London and , New York. Cruzvillegas has shown his work in single and group exhibitions in a number of galleries across Europe, South America and the United States. In 1994, his work was shown in the Fifth ; in 2002 in the XXV ; in 2003 in the Fiftieth ; in 2005 in the 1st ; in 2008 in the , in Colombia; in the Tenth , and the Seventh in Portoalegre. His work has been shown at the , , at in London and at as part of the Trick Brain Exhibition in. Cruzvillegas participated in ROUNDTABLE: The 9th , which took place September to November 2012 in Gwangju, Korea. In August 2012, it was announced that Cruzvillegas had won the Fifth Annual In 2014, he was the subject of a joint exhibition at both the and the. Autoconstrucción is multiplicity incarnate. Indeed, the term could be said to designate more of a spirit and an ethic than, say, a theory-driven aesthetic. It included new pieces, such as a mural inspired by Manhattan. Empty Lot In 2015, Cruzvillegas accepted the Turbine Hall commission; his work, 'Empty Lot' was on display between 13 October 2015 and 3 April 2016. The work consists of 240 wooden triangular plots bordered with wooden frames, filled with 23 tonnes of soil collected from different parks and gardens across London including , , the and. The entire work is raised on two large stepped, triangular scaffolded platforms, overlooked by growing light, and interspersed with smaller sculptural works. Like a green-fingered , his less-is-more philosophy makes him a seer for our times. It feels suspended like a geometric island, perfectly poised in the immense space. It is the joy of energy. The difference between them and Cruzvillegas, however, is the highly personal, specific and inherently protean programme to which his cultural and material universe adheres. Challenge of Failure and Confusion of Possibility, Sunjung Kim, ed. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Archived from on 4 December 2014. Retrieved 27 November 2014. Retrieved 17 July 2018. Archived from on 2 October 2014. Retrieved 30 September 2014. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Archived from on 16 May 2008. Retrieved 17 July 2018. Archived from on 16 May 2008. CS1 maint: Archived copy as title , Frieze Magazine, 'Found and Lost, October 2006 retrieved 22. Retrieved 17 July 2018. Retrieved 17 July 2018. Retrieved 17 July 2018. Archived from on 14 March 2008. CS1 maint: Archived copy as title.

It feels suspended like a geometric island, perfectly poised in the responsible space. Through his oeuvre —which includes sculpture, painting, drawing, installation, and video—, Cruzvillegas reveals a close and constant engagement with the material world, immersing himself in the ongoing construction and transformation of personal and collective identities. His works have been shown throughout America, Europe and Mexico. In 2012, he was the 5th idea of the Yanghyun Prize and in abraham villegas arratia he received the Prix Altadis d' arts plastiques. In 1994, his work was shown in the Fifth ; in 2002 in the XXV ; in 2003 in the Fiftieth ; in 2005 in the 1st ; in 2008 in thein Colombia; in the Sincereand the Seventh in Portoalegre. Along with Orozco, andCruzvillegas was considered part of a new movement in Latin American art which has been compared to the boom in Britain in the 1980s. His work has also a part of the following biennials: 21st Biennale of Dakota, Australia 2018 ; X Bienal de Nicaragua - Fundación Ortíz Gurdián, Managua 2016 ; Sharjah Biennial 12, United Arab Emirates 2015 ; 12 Bienal de la Habana, Cuba 2015 ; 9th Shanghai Biennale, China 2012 ; dOCUMENTA 13Kassel, Germany 2012 ; 12. In 2012, abraham villegas arratia was the 5th sol of the Yanghyun Prize and in 2006 he received the Prix Altadis d' arts plastiques. Retrieved 17 July 2018.