Kcho's "Bote" asserts the fatal economy of Cuban migration by presenting a small, coffin-like vessel cast in dark bronze whose interior is bisected by a single, gleaming pewter bone spanning its full length like an oar, a thwart, and a corpse simultaneously. The bone—precise in its anatomical articulation—functions as both propulsion and payload, transforming the modest boat into a reliquary that carries the irreducible human remainder of the balsero journey: the skeletal evidence of those who did not survive the crossing. Cast with forensic clarity against the boat’s weathered, almost charred surface, the work collapses the distance between means of escape and evidence of death, declaring that every raft launched from the island is already a floating ossuary. Conceptually, "Bote" positions the bone as the ultimate cargo and the ultimate tool, an unsparing emblem of the alchemical exchange whereby the dream of freedom is purchased with the body itself, rendering the sculpture a quiet, devastating monument to the precise cost of departure in Cuba’s maritime history of hope and annihilation.