“A certain vertigo is produced by these . . . jumps from one face to the next, from one technique to another, and between the different places in which I found each face. So that as each Airmail Painting travels, there are journeys within the work itself: the enormous distances between one face and the next.”
“I would say that my work consists of two forms. The first occurs while they are being moved from one place to another through the international airmail network, folded and in envelopes. The second occurs once they arrive at their destination, when they are unfolded, hung up, and exhibited next to their empty envelopes. The Airmail Paintings are not conceived for only one space that acts as their support. They are conceived to be doubly supported: in the first instance by the international airmail network through which they circulate (the airplanes, customs checks, and postmen serve as their support producing their circulation). The Airmail Paintings are also supported by the receiver or destination: the walls of the exhibition space to which the works have been sent. The Airmail Paintings generate a problem in the exhibition space, since every exhibition takes place in a fixed spot. In this regard they are different from the tradition of artwork produced for a specific site. Airmail Paintings were conceived for at least
–Eugenio Dittborn, 1992
