This initiative has amassed thousands of canvases from students aged 10 to 16 across more than 30 countries, reflecting a collective expression of youth experiences globally. In 2024, Murillo presented 'The Flooded Garden' at Tate Modern's Turbine Hall in London. This large-scale participatory installation transformed the space into an expansive painting garden. Visitors were invited to pick up paintbrushes and contribute wave-like strokes to a giant canvas, creating a vibrant, communal artwork displayed on scaffolding within the hall. He calls this accumulation of marks by several people a ‘multi-individual performance'. Another significant work, 'A Storm Is Blowing From Paradise', was exhibited in Venice. This project featured thousands of drawings and marks made over nearly a decade by children and students worldwide, highlighting the collective creative process and the universality of human expression. 'I Don't Work Sundays' (2014) explores the aesthetics of shared labour and the cultural practices that emerge around notions of leisure. The title of the work, suggestive of boundaries between work and rest, resonates with Murillo's broader interest in labour's physicality and the ways individuals invest time in activities beyond economic production. The large-scale canvas, draped over a stainless steel rail, evokes industrial materials and production processes, while the gestural oil paint marks recall the physicality of traditional artistic labour. This piece was part of Murillo's trilogy of exhibitions, We Don't Work Sundays, shown at Marian Goodman Gallery in Paris, the South London Gallery, and The Mistake Room in Los Angeles. These exhibitions examined the cultural practices and objects created in anticipation of leisure activities, drawing inspiration from Afro-Colombian amateur musicians who crafted their own instruments purely for recreational purposes. In the Paris exhibition, Murillo collaborated with fashion students trained in haute couture from l'Ecole Duperré (Ecole supérieure des arts appliqués Paris) to reinterpret costumes from Cali's Feria de Cali, a festival celebrating ethnic and cultural diversity through carnival parades and salsa marathons. The resulting garments were featured in a video installation alongside ballerinas practicing salsa, embracing a form of dance that was, in some ways, antithetical to their classical training. This exploration of cultural hybridity and resistance to social hierarchies forms a recurring theme in Murillo's work. As Murillo has stated: 'My life itself has been about labour and physicality, and manipulating materials in a physical way…Regardless of the idea of segregated societies, via economic status or social class, we are segregated individuals by default. I think a lot about this and how art fits into it.' Through works like I Don't Work Sundays, Murillo critiques systemic inequalities and celebrates the shared humanity found in acts of creation, whether for labour or leisure.