Diango Hernández's practice is best described as "conceptual": inspired by versions and visions of many lived realities. It is deeply rooted in his Cuban upbringing in the 1970s and 1980s. Objects are found, materials are (re)appropriated, and political rhetoric is handled with lived intelligence, subtle humor and personal sentiment. He spent three tireless weeks of looking, finding, assembling, and re-appropriating materials from flea markets, antique dealerships and a specialist artisan workshop in Budapest. The resulting exhibition, a kiss, a hat, a stamp, became a tribute to the city's age-old tradition of independent creative practices and its rich culture of second-hand goods.