Listo (Ready to Go) critiques the ineffectiveness of the expansion of the border wall, facilitated by the Secure Fence Act of 2006, which redirects crossings by migrants to more perilous desert routes. Guillermo Galindo incorporated found material, such as a broken bicycle left in the borderlands, into the creation of sonic objects that would “enable the invisible victims of immigration to speak through their personal belongings.”Galindo seeks the voice of the object, elevating discordant and atonal sounds to the status of sacred music. Bicycles serve as a covert means for crossing the US-Mexico border undetected by footfall sensors; when they are discovered, US Border Patrol agents render the bicycles unusable by driving over them. The artwork serves a quasi-reliquary function as it entwines personal narrative with materiality, evoking an ineffable sense of loss and the possibility of hope tied to the imagined futures of their owners.