The historical city of Pelotas in the southern end of Brazil concluded in 2006 a major urban and architectonical restoration project, funded by Unesco. This project was aimed for the historical area, renovating old villas and central squares, the culturally visible part of the city. Awkwardly, the most visible mark of that renovated area was a 15 storey unfinished building, recalling the recent decadence and the real estate speculation of the city center.The public art event for which Bijari was invited, was meant to conclude the renovation process with an event where art (as urban marketing tool) came for celebration purposes. The studio decided, then, to occupy this building and take advantage of its symbolic potential, consisting of contradictions and conflicts between past and present.An anti-monument based on the antagonism between embellished center and degraded periphery was created, configured as a disturbing image, aiming the destabilization of the peacemaker and homogenizer pattern, frequent on these renovations.Black and Yellow plastic panels (the same used by homeless for making the tents and squatting) were installed at the openings of the building, with a large centerpiece that saying OCCUPATION. At night, strobe lights were lit up so that it could be seen from the edges of the city. Though the work was removed due to a legal decision three days after the assemblage, it have raised among the citizens a debate about notions of public and private spaces and based on which principles and interests should one city grow.