Concepts of 'individual freedom,' ideas of 'self-making', and the belief of 'endless progress' are all embedded in the forms of which we participate in the current state of consumerism in late capitalism. These have become the achievements of what many thinkers today call the consumer’s 'ideology of choice.' This ideology of individual choices has, however, inhibited people to think of social change within their own given context. In other words, it has petrified the possibilities of real collective social change.

Abigail Reyes's work Buena Fortuna, 2014 (Good Fortune), has positioned itself precisely within the interstices of this individualist negligence. She has done this by appropriating people's individualistic aspirations by confronting Salvadorans in her hometown, but instead with the horror of a systematized violence, as well as state corruption and its endemic failures toward economic development.

Buena Fortuna is centered on collaboration with street-fortune-tellers—a dwindling tradition in El Salvador—who use love birds that have been trained to pick small envelopes. Normally, these envelopes keep messages that answer to individualistic dilemmas regarding a client's health, wealth and love; all those subjective desires, and their accompanying anxieties, which are fueled in life by the consumer’s 'ideology of choice.'  In her work, Reyes has replaced the messages type with newspaper cutouts of news headlines published throughout the year by two of the country's main newspapers. By encountering messages ranging from economic depression to gang violence, issues which affect the collective, each client seeking a fortune—to be unraveled by the trained birds (nature)—suddenly become aware of the social precariousness of their context. In this piece, the concept of fortune then migrates from an imaginative projection of individualistic future, to the need of changing the collective's present. A present that inherently affects the health, wealth and love of individuals.

Inti Guerrero, 2015