Constructed from salvaged car hoods and steel, "One Hundred Five Point Hood Shield, Series Two" distills Beatriz Cortez's sustained inquiry into migration, memory, and the material culture of displacement. The work belongs to an ongoing series in which automotive components, objects inseparable from the mythology of American mobility and the lived realities of immigrant labor, are reconfigured into sculptural forms that read simultaneously as shields, relics, and monuments. The modest physical scale belies the conceptual weight the piece carries, compressing decades of cultural negotiation into a compact, rigorously composed object. Cortez, who was born in El Salvador and is based in Los Angeles, works across sculpture, installation, and time-based media, drawing on science fiction, pre-Columbian cosmologies, and the daily textures of working-class life in Southern California. Her choice of industrial materials is never arbitrary. The car hood, mass-produced and ubiquitous, accumulates personal and collective histories in its surface, and by reorienting it within a sculptural vocabulary, Cortez transforms a disposable artifact into something ceremonial. The result is an object that holds both the violence of border-crossing and the ingenuity of survival within a single, arresting form. Signed by the artist and offered through the Storm King Art Center Benefit Auction, this work represents a compelling entry point into a practice that has earned international critical attention and significant museum acquisition. Courtesy of the artist and Commonwealth and Council, the piece ships from New York and arrives without framing, inviting the collector to consider its presence fully in the round, as sculpture rather than image.