Darío Escobar recontextualizes everyday objects and transforms them into potent symbols of the kinds of contradictions that run through today’s Guatemalan society, where a developing pop culture faces off continuously against a severe Catholic heritage. He is known for working with mass-produced objects combined with painstaking craft techniques, valuable materials such as gold and silver, and religious iconography. Of special interest to Escobar is how aspects of the Baroque era––which coincided roughly with the country’s early cultural development in the 16th and 17th centuries––persist even in contemporary Central America. Escobar exploits these parallels in the process of creating highly appealing objects that blur the boundaries between high art and kitsch or “low” culture. Untitled is a skateboard covered in handcrafted silver and tin. While its patterning refers to religious artifacts and more generally to Guatemala’s Spanish colonial past, the skateboard itself is a highly secular and contemporary object. This incongruity perfectly encapsulates the types of cultural mergers that are continuously created in the “third world,” where local traditions and national identities have had to adapt and hybridize with international commercial trends in order to survive amid the ever-expanding influence of globalization and consumerism––symbolized here by U.S. “skate culture.”