Manolo Lugo's work Corrections investigates specific manifestations of social phenomena that respond to the political and economic realities of Culiacán, Mexico, an active site for the illegal drug trade endemic to the area. Using the cult of Jesús Malverde, an early 20th century folk hero from the area, at the margins of institutionalized religion as a point of departure, Lugo focuses on idiosyncratic rituals that make the implicit violence of the city visible. He proposes that these manifestations are symptomatic of unsustainable Western social relations that are organized around consumption and excess. When documenting terrazzo votives that are cemented to the facade of the folk saint's temple, the artist uses an indexical approach as a strategy to denounce the lack of neutrality in all photographic classification systems. In a different body of work, Lugo cuts into and disrupts the photograph as a unified field, echoing the violence instilled in the memorials that family members place at the sites in the city where their loved ones have been killed. A performance for the camera enacts an instance in which a sophisticated system of violence is exercised not to harm the body, but to condition the behaviour of an individual. Through performative and photographic strategies that serve as metaphors of the underlying social conditions of Culiacan, the artist reveals territories where systemic violence is both staged and contested.