After a brief residency in the city of Puebla and its surrounding areas this project centred on five areas of interest: the ceramic storage centre at the Instituto Nacional de Antropología e Historia in Puebla for its pottery shards (tepalcates), the archaeological site of Cantona, the workshop of Talavera de la Reyna, the archive of Museo Amparo, and lastly the production of a video of a simulated spinning class. During a two week workshop in 2012, 700 clay figures were made and then broken into shards on purpose, to produce molds that subsequently made 3000 false plastic shards to be later classified in a performative action. This action was carried out throughout the exhibition by ‘actors’ who simulated arbitrary classifications of artifacts that had no stabilized register or significance. The neverending nature of the action reconfigures to create singularities that question the dominant belief of archaeology and restoration as reductive constructions of myths, histories and meanings. The piece is divided into four rooms which lead the spectator through bodily and temporal shifts and whereby restoration becomes an oscillation of constant circulation much like the act of spinning.