In the silent video performance, the artist walks through the streets of Brussels carrying a heavy concrete block on his shoulders, symbolizing the “puxadinhos”—improvised housing extensions, common in the outskirts and associated with the precarious economic conditions of marginalized populations. The work uses the European colonial heartland as a setting for a poetic protest against precariousness, social exclusion and the marks of slavery and colonization. The route starts in Schaerbeek and ends at Place Poelaert, passing by the statue of Leopold II, responsible for atrocities in Congo, in front of the Matongé neighborhood, which is predominantly African and shares its name with a region in that country. Both there and during his walks and stops, Fredone looks at the camera, challenging gazes that ignore or are hostile to peripheral bodies. Along the way, the block and the artist become a “walking room,” denouncing urban segregation and questioning who builds cities and who benefits from them.