In the lives of buildings, doormen are the protagonists. However, their histories and personalities (and frequently, even their names) are often ignored by residents who treat the guardhouse as a mere service-related space that one passes by. In everyday life, dialogue and engagement have been replaced by rush and pragmatism. The speed at which cities expand, promoting demolition at all costs, confirms this neglect of the spaces of memory. Rafael RG unites the building’s official register of demolition with a doorman’s uniform, revealing the contradiction between the subjectivity of lives whose histories cross with those of their apartment buildings, and the difficulty of rewriting them from the shadows that remain. What is left behind does not fully describe the complexity of the events that took place before now. To revive neglected histories, one must create fables and fiction, filling in for what wasn’t included in the dominant narrative. Meanwhile, dozens of employees work at the building every day, very close to the art piece, their stories ready to be heard. RG does not tell us what to do, but, melancholically, tells us about the many lives that pass through buildings such as this one, that, like these, do not last forever. However, fragments that one day can be uncovered will remain, perhaps giving rise to these types of questions.