This gold-tone portrait of a Guatemalan bodyguard is set into a vintage "union" or "thermoplastic" case. Conceived by Luis González Palma, the artwork was created in collaboration with Christopher Cardozo, who rediscovered the lost orotone (goldstone) process made famous by Edward Curtis. This case, created more than 100 years ago, once held a daguerreotype, tintype or ambrotype photograph. The case would have been an intimate object given by the sitter to the bearer. The case shows its own history of use and wear. Scaled to be carried in a pocket, the case was yet durable enough to protect the fragile images of glass and gold inside. With a new image put in the original’s place, the rendered art-object is a contemporary response to historic practice and process. To further anchor to legacy’s past, the men sitting in the portraits wear a collar ruff, traditionally from the colonial-era, the mid 16th - 17th centuries and associated with wealth and status. In all nine bodyguard portraits were made in this method. A companion series of platinum prints were also made, beginning with the same portraits, only folded and crumpled after printing. Nine portraits of women were a concurrent period project. The number of images (nine) relates to the artist’s history and structure echoes through his practice as far back as La Lotería I (1988-91) and La Lotería II (1991-92) and later La Lotería III (2011); these projects were also composed of nine portraits each.