During the Bogotá Stencil Art Festival in March 2010, this intervention marked an early collaboration between Vhils and the Colombian artist Stinkfish, bringing together two distinct approaches to working in the public realm. Vhils carved the portrait directly into a wall layered with election posters, while Stinkfish responded by enveloping the exposed face with his characteristic chromatic compositions. Neither gesture functioned independently: subtraction and addition remained in constant dialogue, letting the accumulated visual language of Bogotá's streets become an active component of the work, not a neutral backdrop. Conceived for La Candelaria's street-art environment, the intervention embraced the continual replacement of images that defines its walls. Its present condition is unknown.