Abel Barroso, with scathing irony, turns a handcrafted pinball machine into a metaphor for the hazardous journey migrants undertake to the borders of a developed world. As in an obstacle course, the uneven dynamics of the game are built on a labyrinthine, tortuous structure that leads the way through fragmented, disjointed spaces (full of partitions and walls). The work shows the impact of physical barriers and mobility restrictions imposed on diaspora communities, derived from power relations evident in their peripheral realities. At the same time, this sculpture refers to the stress, isolation, and uncertainty that accompany these unpredictable migratory processes. A graduate of the Instituto Superior de Arte in 1995, Barroso is part of the generation that began practicing Cuban engraving in the 1990s, renewing the woodcut technique in three-dimensional objects in which he combines engraving and sculpture.