The examples of border artivism range in scope from graffiti writings, through installations directly on the border fence or in its vicinity, to various performances and actions involving communities from both sides of the border. […] Graffiti written directly on the poles of the fence or corrugated wall constitutes a transgression in itself, as one is not supposed to approach the border, let alone touch it; with current surveillance, such an attempt can have grave consequences. […] The medium of graffiti also allows for the immediacy of reaction; whenever some immigration or border-related issues appear in the media, graffiti provides a prompt response. The installations, in turn, do not share graffiti's characteristic of immediacy, as they require preparation and permits and are often mediated by an artist, like “The Mural of Brotherhood” by Enrique Chiu. Their main role is to transform the border into a space of dialogue that fosters conviviality. In that sense, they also aim to challenge hostipitality experienced by Latinx and other ethnic groups in the U.S. Others point to the complex history of the borderlands, like “The Parade of Humanity”, which emphasized the interconnectedness of the two nation-states. “Border Dynamics” illustrated push and pull factors that determine the dynamics of U.S.-Mexico relations. A French artist JR's “Kikito” (“The Dreamer”) not only alluded to U.S. immigration policies, but also addressed the question of the immigrant as the threatening “Other”, thus provoking a discussion about avarice and fear that led to marginalization of certain groups. Aside from triggering discussions about the “Other”, the majority of those examples of artivism promote the involvement of communities on both sides of the border. In that way, they create a space for dialogue and exchange, opening up the possibility of cooperation between those two seemingly distinct spaces that used to be one.