La Frontera, the frontier, or the American Mexican Border wall in The Rio Grande Valley, Texas, is my cage. The photographs I make with my father draw upon the pictures found in How-To books and speak to the auto construction of our own family home. Auto-construction differs from DIY culture since, for working-class people, it is a way of adaptation and survival. I explore my relationship with my father as his son while exploring our relationship to labor. Together we represent immigrants, first-generation Mexican-Americans, blue-collar workers and shed light on the invisible laborer. My father also works as an assembler for United Launch Alliance. For 33 years, he has drilled holes around the head of the rocket. The head has held satellites for various missions such as military GPS, elevation measuring laser, and the Mars rover, to name a few. Material culture from his job appears in our home as apparel, posters, coins, and coffee mugs. My father's practicality and many roles inspire my way of working as an artist. In my images, the blue tarp is both a photographic backdrop and a workspace. A grey card printed with a home printer serves as a way to color correct my images. And during long exposures, my father rests, gazes at me, and becomes aggravated with the process of image-making. But this slow process allows us time to bond, resulting in conversation about his work environment, what it means to be an artist, or how LatinX masculinity should perform. With the violent history against the body of LatinX people, it is second nature to perform auto-construction as a way of survival. For us, this is all we know.