From Ferguson, Missouri to Mexico City political demands move hand in hand with cultural movements reflecting aspects of what art critics since the 1990s have called relational aesthetics. Contesting the value of the museum artifact as well as the autonomous self, these movements produce art as acts of collaboration with social goals.  What rappers term flow and call-response constitute the corporeal and affect-driven ethico-aesthetic dynamics of urban lives across the US/Mexican border.  Creative practices in multimedia art, rap, and popular music counter the negative charges and territorial markings of the geopolitical map drawn by the American drug wars with the rhythms and tones of change.