In Javier Téllez's  video One Flew Over the Void (Bala perdida) (2005), the boundary between reality and fiction is similarly troubled, as the documentation of a participatory performative event becomes ruptured by a conceptual intervention. A camera follows a parade organized by the artist on Las Playas beach in Tijuana, on the border between Mexico and the United States, including local people, visitors, and psychiatric patients from a local hospital, wearing animal masks and holding banners protesting their invisibility within society. The informal documentation of the procession shifts, in the second part of the video, to a more formal structure, in which the participants are now billed as performers, and their names listed. The psychiatric patients take off their masks, asserting their identities and their presence within the larger social group. At the end of the procession, a human cannonball is shot over the border into the United States, in a defiant gesture pointing to the hard ships of illegal Mexican immigrants attempting to cross the border. Tellez's video, acting as both document and conceptual gesture, blurs the line between the real and the performed, articulating a carnivalesque space in which an alternative social model might be explored.