Paradox of Praxis 1 (1997) is the record of an action carried out under the rubric of “sometimes making something leads to nothing.” 　　For more than nine hours, Alÿs pushed a block of ice through the streets of Mexico City until it completely melted. And so for hour after hour he struggled with the quintessentially Minimal rectangular block until finally it was reduced to no more than an ice cube suitable for a whisky on the rocks, so small that he could casually kick it along the street. 　　The art of Francis Alÿs is a reflection of political realities. On the same streets, thousands of locals spend their days pushing, carrying or towing wares or chattels. The results are the same: nothing to show for all the hard work. 　　But Alÿs does have something to show for it, a five minute film. And in a work called Ambulantes I and II, he also gives the street traders and removal men their due. Physical labour has given rise to art, if not profit, but what good is that to people who earn a living by the sweat of their brow? 　　The piece is called Paradox of Praxis I (Sometimes Doing Something Leads To Nothing), as if Alÿs were making a point about the futility of art. And yet this is not merely art about art. The routines of manual workers are just as much of a praxis and must at most times feel just as paradoxical.