This article focuses on the collaborative game-art work, Turista Fronterizo (2005), by Coco Fusco and Ricardo Dominguez. It starts by analyzing how this game closely

engages with the border as material locality and as representative of particular (corporate) practices. It focuses on the maquiladora, arguing that it functions as the central trope encoding the work, a synecdoche for post-Fordist late capitalism. The article examines how Turista Fronterizo’s playing with both digital and pre-digital conceptualizations of recombinatory praxis is undertaken as a form of questioning of the status quo, encouraging the user to establish and critique the interconnections between the various locations visited. It analyzes how socio-economic inequalities of the border are encoded in the structural inequalities of the ludology, and argues that Turista Fronterizo critiques the structural inequities of the border economy.