This text details two inter-related Envoy works, Criollo and The Athens-Kassel Ride: The Transit of Hermes, commissioned for documenta 14, Athens and Kassel, 2017. Both works respond to Tschiffely’s Ride (1933), an account of a 10,000 mile journey from Buenos Aires to New York (1925–1928) by Swiss-Argentine horseman, Aimé Félix Tschiffely, riding two Argentine criollos, Mancha and Gato. The film Criollo features an Argentine criollo horse standing at the Artists’ Gate entrance to Central Park at the end of sixth Avenue / Avenue of Americas, New York. Criollo, a variant of ‘creole’, holds associations of ‘creolisation’, ‘cultural mixing’ (Hall) and ‘entanglement’ (Glissant) in the context of globalisation and migration. Criollo also prompts consideration of the animal in the development of capitalism (Berger, Raulff) and a reading, in turn, of the concepts of ‘bare life’, ‘bios’ and ‘zoe’ (Agamben). These contexts also frame The Athens-Kassel Ride: The Transit of Hermes, a 3000km equestrian journey performed over 100 days by four Long Riders traversing Greece, Macedonia, Serbia, Croatia, Slovenia, Austria and Germany, accompanied by a Greek arravani horse ‘Hermes’ named after the god of border crossings who – as angel messenger – is a key figure in the thought of Michel Serres.