The Chicago-born artist Alberto Aguilar enacts his artworks through video, performance, sound recordings, cooking, photographs, participatory events, drawings, installations, interior design, writing, collage, singing, teaching, conducting interviews, curating, mail-art, being on the Internet, writing, and personal social exchanges (e.g. conversations, meals, gift-giving, visits to strangers' homes, being with his family, being a tourist, playing games, doing favors, telling jokes, etc.). Aguilar practices without a studio, that is to say, his projects--usually worked out on a notepad, on the computer, through social networking (both actual and virtual), in conversation and collaboration with others, and through mostly ad-hoc means--are first conceptualized and then brought to fruition in the space, time, and through the material that the concept requires. Aguilar can be seen as a polyglot artist. Aguilar's polyglot conceptual practice involves multiple ways-of-being and making, which are unified by the ideas behind the work, not necessarily any devotion or consistency with a specific media. In this article, author Jorge Lucero examines Aguilar's process in relation to the creative practitioner/educator's demanding challenge to sustain two seemingly different practices--the teaching job and the art practice--at equally integral levels. What Aguilar's practice proposes are everyday gestures--including the teaching gesture--as material. Aguilar's intertwined art/life practice proposes that a teacher's tasks--even the mundane and arduous ones--can be moved around, played with, presented, and theorized as sophisticated contemporary art practice. The article concludes with an artwork by Alberto Aguilar in the form of tips for making a more fluid integration between one's everyday practice and one's creative practice.