For several weeks in the summer of 2002 Libia Pérez de Siles de Castro and Ólafur Árni Ólafsson worked on the project 'Un elemento más' in Sala de Arte Moreno Villa, Málaga. The Sala de Arte is a pristine space in the renovated Cervantes Theatre, situated on a nature stone plateau and adjacent to a so called run-down area. The artists aimed at 'osmosis' of the clean atmosphere of the typically museum-like space and its multifarious, dynamic surroundings. To achieve this they used several means; in addition to having chance meetings with playing kids and people living in the area, they also made physical interventions both in- and outside of the exhibition-space. In the new passageway in front of the theater they built a wall of stones they had found in the neighborhood. Instantly, this was accepted as a resting-place and a 'hang-out' by the public (children and grown-ups) for reading, eating and drinking, kissing, relaxing. The different public groups had various 'readings' of this wall. Some of them made use of it without any particular notion, others might have seen it as a work of art, and there were people who thought it concerned archeological remains. Discussions about of which period of history the wall would be and its origin were not unusual. The artists had created a situation that accommodated various understandings. Although the wall was a Fremdkörper, it was picked up as a natural occurance (2). So an intervention like this triggers people's action and incites 'creative' interpretation.