Rabota is an easy word to introduce ourselves. We are not a group of artists or a curatorial collective: we are not a collective. Rabota is a tension between us; it is our world, it makes us wake up, recall, and remount ourselves and everything around again and again. We consider such a constant recollection as our artistic practice. Such work is inevitably immaterial, invisible from the outside; such art-in-itself is problematic. If no one can notice it, read, evaluate, tell about it, store it or buy it, such art does not exist, or such art does not have a product. We have created curators and theorists from ourselves to materialize and render the practice, then to grow a discursive shell for our invisible work to overcome this situation of invisibility. Our imaginary colleagues have profound privileges. They are connected with our consciousness, and they are our constant witnesses. This circus configuration constitutes the institutionality of what we have been calling the MUSEUM.