the Graphic and Tectonic: Architecture, Mapping, and Topography in Rimer
essay is about the interaction of architecture and printmaking, and
their combined role in the formation of meaning in Rimer Cardillos
most recently finished silkscreen wall mosaic, Environment and Culture:
From the Amazon to the Hudson River Valley, permanently installed
on the Humanities Building along the Excelsior Concourse of the SUNY
New Paltz campus. The large-scale images
that are distributed randomly over the murals geometric grid have
been previously interpreted, and classified, by contemporary art critics
according to their visual function as icons, specifically, as the symbols
of the South American landscape, culture, and cultural heritage.
There has been little attention paid to how the structural arrangement,
within a two dimensional plane, and within the full architectural body,
alters the function and the meaning of these images. I will therefore
begin this essay by outlining how Cardillo deconstructs and then layers
the meaning of these icons through his integration of the murals
architectural design in its immediate environment, the university campus.
Then I locate his deconstructive method, with its similarities and divergences,
in the aesthetic tradition of Joaquin Torres-Garcia, a muralist, and
formative figure in the art and culture of twentieth century Uruguay.
In the second and main part of the paper I show how Cardillo applies
structural shifts, displacement, re-sequencing to the so-called "iconic"
motifs of landscapes and buildings in his prints as well as in his architectural
installations, to deconstruct the symbols of fixed national, cultural
or historical identity, to create from them a cognitive discourse on
Cardillo was born in 1944 in Montevideo, Uruguay, where he received
his training as a printmaker and where he lived until the 1980s.
Under the political pressures of the ascending military government in
Uruguay, he moved to the United States together with a group of artists
and leading intellectuals of Latin America.
From the 1980s Cardillo created his first installations which he combined
with graphic media. His mural, now permanently installed on the Humanities
Building of the SUNY New Paltz campus, is a wall mosaic composed of
approximately 1,000 porcelain tiles.
The tiles are, alternately, of smoke and rust color, some burnt with
figural silkscreen prints. The mosaic includes five large-scale figural
images, a tree, a giant turtle, a group of cardinals, a set of archeological
photographs of animal and human bones, a photographic image of the Aztec
Goddess, Tlazolteotl. It also includes the side view of a cone-shaped
cupí, the burial mound of the Guaraní Indians in
South America. All of the images that
appear in the mosaic have previously appeared in Cardillos art,
either in his graphic works or in his installations, and they have been
recognized as symbols of Latin American culture.
As for their visual form, the images recall pencil drawings, diagrams,
and documentary photographs. When these large-scale figures are distributed
over a geometric grid, it might be our most direct response to see the
mural as a gigantic page torn from an encyclopedia, an Atlas, or a guide
map with indexes of the local species to be found in the area. However,
the scientific and explanatory function fails, when the assumedly continuous
topographic area of a continent, or a hemisphere, that would integrate
the details in a unified context, is fractured into perpendicular planes.
The photo shots of the archeological remains seem to hang vertically
in space, perpendicular to the surface of the earth where the giant
turtle, the mound, or the tree stand. The body of the goddess Tlazolteotl
appears to levitate in the air, similarly to the group of cardinals.
While Tlazolteotl, in the framework of Aztec cosmology, can be imagined
as a conduit between earth and the Otherworld, the archeological photographs
do not fit such a visual framework. It is thus clear that Cardillo uses
the intersecting planes to divide the murals spatial and structural
The intersecting planes cause a feeling of disorientation, and the sense
of confusion is enhanced by our unyielding attempts at deciphering the
role of the grid system. How, if at all, does it provide a sense of
scale, some kind of scientific register? The grid system contributes
less to the definition of the images, than to their relocation in space.
Once represented in the murals fragmented space, the animals and
the archeological objects are no longer of taxonomic or geographic interest.
The abstract field breaks up the image plane of the mural, excising
the figural images from their original temporal, spatial or associative
context, South Americas landscape and culture. The virtual cracks,
pathways, lacunae in the fragmented plane of the mural offer the viewer
imaginary sites of passage into the landscape.
the murals material surface, its tectonic structure, and graphic
imagery, to the surrounding campus architecture, Cardillo maps his Latin
American landscape onto the campus and creates an extent of spatial
continuum. The use of pastel color tiles and bricks in the murals
patio is in accordance with the 1968-design building and the yard in
front. The fold of the mosaic at the
buildings corner allows for the staircase to be incorporated to
the murals dynamic imagery: the zigzags of its geometric grids
and the labyrinthine effect of the abstract field. The corners
hand-drawn tree seems to mirror the real tree standing in front. Through
the synthesis of real and virtual space, the affinity between building
materials and figural images Cardillo invites the passer-by to penetrate
the murals landscape, to join the plane of what evokes a giant
chessboard or a dizzy jigsaw puzzle.
Mosaics, fragmented reliefs, doorknockers, tapestries and other architectural
ornaments recur in Cardillos graphic works and installations.
The artist encountered these architectural fragments during three decades
of travel, study, exhibitions, and teaching in Latin America, Europe,
or the United States. While Cardillos
concept of printmaking was influenced by his studies at the Berlin and
Leipzig Art Academy, and frequent travels in European and Latin American
countries, his inversion of architectural planes and his random placement
of figural images, follows the universal constructivist aesthetic
Joaquín Torres-Garcia, his Uruguayan predecessor.
A painter, sculptor and muralist, Torres García developed a synthetic
style that concocted European and Precolumbian visual registers. His
position as a mural painter in Barcelona and his studies in Paris played
an important role in his artistic formation.
The movement of universal constructivism was founded by Torres
under the influence of De Stijl, a group of North-Western European
artists including Theo Van Doesburg and Piet Mondrian.
De Stijl aimed to create a universal abstract art that
would no longer relate to nature, and would integrate the visual arts
with architecture. However, the artists of the South American avant-garde,
led by Torres, restated the aims of Constructivism, and relocated it
in a cultural context. The concept of the "South" was founded
out if this break from the cultural center of Western Europe. 
In 1935 he founded the Art School Escuela del Sur, whose emblem
became an inverted map of the South American continent. The Southern
tip of the inverted continent served as a compass, which pointed, not
without irony, to the North. 
The grids in the paintings of Torres Garcia are based on Inca ideograms
and the geometric structure of Precolumbian temples, particularly in
the Andes, Chile, Peru, and Bolivia. This
reference to the ancient cosmology of the Andes created a cultural register
that moved beyond the borders of Torres Garcias native Uruguay.
The new South American imagery was to represent the culture and heritage
of the continent and its people as a whole. It is also important to
acknowledge, that Torres defined himself and South American culture
consistently against a European backdrop, fluctuating between the cultural
parameters of the two continents. This position came from a historical
perspective on the Colonial period as well as the contemporary reality
of the massive presence of European immigrants in Uruguay.
 He claimed, "while these countries had an indigenous
tradition, they also have another reality today that we cannot be indifferent
to. Also we should not dissolve our ties to Europe, any more than those
with Central and South America. We have learned much from Europe and
still have much to learn."
In Torres Garcias view, universal constructivism is rooted in
the repressed artistic past of a culture, as well as in the contemporary
context of the artist. For Torres without this convergence, no new tradition
could be established. Torres defined the method of universal constructivism
not only as synthetic, but necessarily analytical, "based
on the disassociation between line and color, a free play of elements."
As he claims, "It is only through the disintegration of the structure
of a three-dimensional object, that its original meaning will be re-defined.
 It is in this spirit of formal deconstruction and a cultural
synthesis that Cardillos most recently finished SUNY campus mural
The fragmented structure of the SUNY wall mosaic, the references to
the map and the journal, the observation and recording of nature scenes
is closely related to Cardillo`s series of woodcuts dating from 1998
and under construction to the present day. The two sets of prints, El
Pantanal and En la Estancia are based on images that Cardillo
recorded in 1997 in his travel journals along with written notations,
during his visits to cattle ranches (estancias) in Uruguay, and
observation of the vegetation of El Pantanal, a strip of untouched
wetlands along the Southern Amazon regions of South America.
The woodcuts can be located in the tradition of nineteenth-century
travelers and cartographers reports, in their loose description
of topography, vegetation and the presence of human settlement.
According to Benedict Anderson, these diagrammatic maps were organized
"roughly by the quadrant, they had written-in notes about marching
and sailing times, required because the mapmakers had no technical conception
of scale. Covering only terrestrial, profane space, they were usually
drawn in an oblique perspective, or a [simultaneous] mixture of perspectives.
These guide-maps were never situated in a larger, stable geographic
context, and the birds eye-view convention of modern maps was
wholly foreign to them." Cardillos
flat perspective and the linear style of his drawings indeed evoke Colonial
maps and diaries. To enhance the verisimilitude and authenticity of
the representations, Cardillos prints are pressed on large plywood
sheets that conserve the texture, rings, natural patters of wood.
The spatial unity and documentary quality of the images are modified
by Cardillos deconstructive methods that he applied in the SUNY
mosaic. In Upkeep in the Corrals the fragmented, transparent,
bubble-like figural silhouettes disintegrate from the horizontally striped
color-field composition of continuous pastel tones. The translucent
color creates a prism-like screen through which we are invited to enter
this incomplete view of animals. The weightless figures are specter-like
and elusive, rendering the everyday snapshot as distant, and as intangible,
as a mirage.
Cardillos method to map his own small-scale paper sketches
and labels faithfully onto large-size plywood sheets, involves an overhead
projector, that will transfer his figures and text onto the printing
plate. Mapping and magnifying the paper recordings to large scale plates,
printing them on wood that will be eventually installed on a wall, involves
a synthesis of space of the present and past. In the three prints of
El Pantanal, architecture, the trace of human settlement pops
up in form of a bridge. Identified by name, recorded and dated, Porto
Esperança, 1998, the image cuts its way into a thick body
of text, some part illegible to the extent it evokes a horizontal, rhythmic
decorative pattern. The bridge here becomes a sign and a fantasy,
rather than an object represented. The bridge connects the viewer with
the landscape, it is a site of entry and passageway just like the abstract
zigzags, the hidden staircases in the SUNY mosaic.
Doorknockers other church ornaments recur in Cardillos Baroque
Suite, a set of nine prints dating from 1980-81.
This series, based mostly on the concept of fragmentation and
collage, is an example of Cardillos early experiments with architecture
and the reconfiguration of its historical and political meaning. Cardillo
focuses his attention on the Colonial Baroque architecture of Peru and
Bolivia and the history that this architecture inscribes on the local
cultures. As Cardillo depicts fragments
of the church that once represented the image of Catholic universe,
he deconstructs the Christian symbolism and the historical narrative
of imperial Spain that has once been carved in the church façades
and imposed on the indigenous people. As Cardillo explains in a recent
interview, the ornaments come from the Baroque churches of Arequipa,
Puno and Oruro.
Once these ornaments served to inscribe the sites of entry to the church.
The doorways, the balconies, and the facades, were marked with images
of the Church Militant. The Archangels and Christian Saints, which are
sometimes hybrid, Christianized forms of local saints or figures of
Precolumbian myth, are depicted in these carvings as Soldiers of God,
who guide the entryways to the Christian universe from intruders and
evil spirits. The statue of Saint George, one of Cardillos models
in his photoetchings, was a disjoint sculpture that once might have
stood on a pillar, or a facade cornernow, broken off and abandoned,
Cardillo encountered it in the twilit interior of the convent in Oruro.
But not all of the objects were found in scattered pieces. Wasp,
Dauber, Baroque is an instance when Cardillotogether with
his studentscollaged motifs of the façade reliefs in a
cathedral in Arequipa, so that the buildings profile is still
recognizable. It is represented as
though it was scattered apart, and it has a conspicuous, dark
vacuum in its center. Wasp, Dauber and Baroque includes Cardillos
own political symbol, the pinned insect. The wasp, moths, and other
insects refer to censured figures of the contemporary avant-garde, but
also to political prisoners, and a vast amount of desaparecidos,
people who were murdered and then erased from the registrar.
The insect imagery is Cardillos own inscription to the surface
of the architecture, to conflate the two historical periods, two political
issues and two narratives at stake. In Wasp, Dauber, Baroque
the miniature scale of the insect and the dark vacuum alludes to the
contemporary artists isolated position. However, the central position
and the monumental size of the dauberthe instrument of the printmakerconfirms
the artists capacity to respond in a time of political crisis.
Cardillos Baroque Suite, particularly, the collaged architectural
images of Arequipa and the dauber, brings in mind Benedict Andersons
discourse on Colonial architecture and the role of the print.
The cultural and political value of architecture and the print
is fleshed out in his Imagined Communities, by now a classic
study in the sociology of culture and anthropology. In this work, Anderson
discusses Western European imperial expansion in the 1870s, at the outset
of the industrial age, with large-scale construction projects, and the
outset of mechanical reproduction, a fever for survey reports, map making,
and census. As Anderson explains, monumental
architecture, miniature paper reconstructions, as well as printed maps,
and scientific samplings have been applied and widely misused to enforce
control by the political administration of Western European nation states.
The most immediate purpose of construction projects and surveys
was to re-build the history of the colonies, in order to demonstrate
their declining economic, and cultural trajectory. This political angle
positioned Western Europe as a source of superior knowledge, a harbinger
of economic progress, a much-needed, and legitimate guide of the underdeveloped
countries. Andersons work is
a case-study on colonialism that takes South-East Asia in its focus.
Looking through Andersons model, however, one can easily recognize
the evolution of "new histories" through architecture and
the press in Colonial Latin America, or, for that matter, modern Uruguay,
the regional contexts in which Cardillos works are generated.
The use of prints on architecture directs me once again to the SUNY
mosaic, and particularly to the vertically hanging archeological prints,
that Cardillo entitled Vanishing Tapestries in an earlier architectural
setting, in the exhibition galleries of the Bronx Museum of Art. The
photo shots document and re-interpret the burial sites excavated in
a natural gorge, La Quebrada de Los Cuervos, (The Gorge of the Crows)
in el Departamento Treinta y Tres (33rd County) of Eastern Uruguay.
As Cardillo explains in a recent interview, the protected natural
site of La Quebrada de los Cuervos formerly suffered serious
damage due to bullet marks that pierced the vegetation and stone formations
of the site during the training of the military troops of the 1980s.
The site with its environmental, archeological and historical complexity
remains a passionate interest for Cardillo and to the present day a
constant point of reference in his imagery. It is not without irony
that Cardillo uses this damaged historical site and the images of archeological
fragments to create the metaphor of tapestry. An ornament traditionally
fixed to the monumental walls of palaces and banqueting halls, tapestry
was widely used in Europe, since the Middle Ages through the courts
of the Spanish Empire, to narrate the stories of military victories,
court ceremonials, and wove the continuous line of royal dynasties.
The tapestry inscribed political, religious, and cultural unity in the
architecture, consolidated imperial power, and alluded to the continuity
between the past and present. The method
of sewing or weaving traditionally came to imply narrative intention.
Instead of presenting a linear and coherent historical narrative, Cardillos
tapestry, follows the geometric grid of Precolumbian calendars, North
American quilts, and the abstract patterns of South American textiles.
Cardillos grouping, just like in the SUNY mural, abandons the
scientific rigor of archeological sampling, morphology, or classification.
The process departs from quantitative and analytical methods as soon
as it abstracts, and clearly, simplifies the documentary images, inverts
their placement, multiplies their original number, to create from them
templates for compositional variants. A viewer who strives to sew together
the squares in Vanishing Tapestries, and who is looking for logical
connections between the fields, will soon surrender to the inconclusiveness
of this project. In order to locate morphological connections between
the images, the viewer needs to jump over blanks, holes in a checkerboard-like
Cardillos tapestry, installed in the Bronx Museum galleries to
form a T-shape, in fact refers to physical jumps, to Hopscotch,
a game as popular in South America, as in Europe. In South America,
the jumps start with the first square, earth (suelo) and lead
up to the last square, sky (cielo). The connection between the
real and the imagined worlds, in this childrens game, is a possible
conceptual source for Cardillos tapestry just as it is the conceptual
basis of Julio Cortázars novel, Hopscotch (Rayuela,
Cortázar is an iconic figure of post-modern literature in Argentina,
and a émigré who spent most his life in Paris. In Hopscotch,
he tells the discontinuous story of his own alter-egos, Horacio Oliveira
and his double, Traveler. Cortázar picks two cities, Paris and
Buenos Aires, of two different continents, as the novels setting.
In the Foreword, the novels arguably most renowned part, Cortázar
provides a Readers Guide (Tablero de dirección)
encourage a non-sequential reading of his chapters. He invites to participate
in saltos or temporal and spatial jumps. In addition to the disorienting
guide that recalls Joaquin Torres Garcias inverted map of South
America, or Cardillos inverted architectural planes, Cortázars
Chapter 34 is written in alternating sentence fragments.
Cardillo offers a similar guide to discontinuous viewing experience
in the window installation of the Bronx Museum of the Arts.
The large-scale image of Tlazolteotl, a cultural icon that appears in
the SUNY mural, is silkscreened on the atrium windows of the Museum.
Through the semi-transparent body of Tlazolteotl, that functions as
a lens, one can experience a partial view of the street corner, as well
as the intersection of Grand Concourse and the 165th Street.
How does Cardillos placement of the image at the interface
of architectural planes alter the cultural meaning of Tlazolteotl? The
experience of doubling, fracture and shift is emphasized by the intersection
of the two window panels on the Museums corner. As seen in the
SUNY mosaic, the liminal space of the corner plays a significant role
the spatial structure of the work. Through the implications of shift,
displacement, turning, and rotation, the corner offers a site of passage
into the virtual space of the work, as well as multiple viewing angles
for the observer.
The large-scale figure of the Aztec goddess, a ritual object made of
clay, normally seen in context of a sacred enclosure, is photographed,
reproduced and exposed in both the Bronx Museum setting, and the SUNY
campus setting, in a profane and dynamic public space where people do
not linger for long. The spatial displacement alters the function and
meaning of the image: instead of preserving the archeological past,
in this case, identified as the "Aztec" Mexico, it becomes
a cognitive mirror, reflecting a hybrid cultural present.
Among a large inventory of motifs and changing signs, Cardillos
inverted architectural and topographic planejust like Torres Garcias
inverted maphas become a consistent way to articulate his position
in the cultural politics of art. Cardillo observes and discovers the
landscapes of his homeland by living in North America and traveling
between continents. He deconstructs and critiques fixed national and
cultural icons, and the notion of continuity in history, to recombine
their fragmentary forms into configurations that represent a more complex,
and maybe more accurate, reality. Cardillos lifes experience
as an émigré, traveler and his politically committed
stance throughout Uruguays crisis of the 1980s leads many of us
to look for symbols, messages, statements at the core of his art. The
meaning of his architectural-graphic works is, however, to be understood
from the process of their making.
Anderson, Benedict. Imagined Communities. Verso,
London & New York: 1991.
Araucaria. Lucy R. Lippard, Marisol Nieves, Patricia Phillips
et al. The Bronx Museum of Art, NY: 1998.
Cortázar, Julio. Rayuela. Punto de Lectura, Madrid: 2002.
Cupí degli Ucelli: XLIX Biennale di Venezia. Cléver
Lara, Ángel Kalenberg, Lucy Lippard, et al. Cantz, Germany: 2001.
Impressions (and Other Images of Memory). Karl Emil Willers,
Carlos Carbonell, Arnd Schneider, et al. Samuel Dorsky Museum, New Paltz,
New York: 2004.
"Intersecting Circles: Prints and Drawings of Transnational Latin
America and the Caribbean", Taína Caragol, et al. http://prdeam.com/galeria/intersecting_circles/essay-print.html:
Joaquín Torres-García and Theo van Doesburg: The Antagonistic
Link. Jorge Castillo, Nicolette Gast, Eduardo Lipschutz-Villa, Sebastián
Lopez. The Institute of Contemporary Art Amsterdam, Amsterdam: 1991.
Joaquín Torres-García. Ed. Jean Sutherland-Boggs,
Thomas M. Messer, Daniel Robbins. Museum of the Rhode Island School
of Design, Providence: 1970.
Mesa-Bains, Amalia. Ceremony of Memory: New Expressions in Spirituality
Among Contemporary Hispanic Artists. Center for Contemporary Arts
of Santa Fe, New Mexico: 1988.
Mesa-Bains, Amalia. Ceremony of Spirit: Nature and Memory in Contemporary
Latino Art. The Mexican Museum, San Francisco: 1993.
Revelaciones/Revelations: Hispanic art of evanescence. Video
recording. Dir. Edin Velez, prod. Chon A. Noriega. Cinema Guild, Ithaca,
Turner, Victor. Process, Performance, Pilgrimage. Concept Publishing
Company, New Delhi: 1979.
Viktoria Villanyi. Audio Recording at Rimer Cardillos Studio,
June 29, Gardiner: 2004.
 All photographs of the mural, in the original essay, were taken
by the author, in New Paltz, NY, Summer 2004.
 The figural images have been discussed most recently by Karl Willers
in Impressions (and Other Images of Memory) Samuel Dorsky Museum,
New York, New Paltz, 2004, 25-29. For an earlier, extended discussion
of the archeological images and animals, see Marysol Nieves, "Vanishing
Histories: Rimer Cardillo and the Aesthetics of Reclamation and Renewal",
in Araucaria, The Bronx Museum of the Arts, New York, 1998, 9-21.
 The relation between Cardillos art and Joaquín Torres
Garcias constructivism is briefly mentioned in Ángel Kalenberg,
"From Nature to Histroy" in Cupi degli Ucelli: XLIX Biennale
di Venezia, 2001, 16.
 See biography in Impressions (and Other Images of Memory),
 Among the most prominent Uruguayan artists of Cardillos generation,
are Luis Camnitzer, a writer and artist who lives in New York, and Cristina
Peri Rossi, a writer and poet who lives in Barcelona, Spain.
 Data cited from Gallery guide: Impressions and Other Images of
Memory, Samuel Dorsky Museum of Art, New Paltz, New York, August
 For extended discussions of the cupi, see Marysol Nieves,
"Vanishing Histories: Rimer Cardillo and the Aesthetics of Reclamation
and Renewal", in Araucaria, The Bronx Museum of the Arts,
New York, 1998, 9-21.
 See semiotic interpretations of the cupi, giant turtle, cardinals,
archeological shots, tree, and Tlazolteotl as cultural symbols in Willers,
Impressions (and Other Images of Memory), 2004 and Nieves, Lippard,
 The authors interview with Cardillo, July, 2004, Gardiner.
 Cardillos use of industrial debris, fragments and particles
is discussed by Amalia Mesa-Bains, "The Archeological Aesthetic
of Rimer Cardillo: Stratum, Element and Process" in www.rimercardillo.com.
This essay, however, does not discuss buildings, construction and architecture
per se, or the conceptual role of fragments of architecture in Cardillos
work. There also has not been an in-depth discussion of Cardillos
use of collage and fragments in his printmaking process.
 See artists biography in Impressions (and Other Images
of Memory), 53-55.
 The authors interview with Rimer Cardillo, 29 June, 2004,
 Joaquín Torres-García. Museum of the Rhode
Island School of Design, Providence: 1970, 5.
 Joaquin Torres-Garcia and Theo van Doesburg: The Antagonistic
Link, 124, 129.
 Ibid. 139, 179.
 Joaquin Torres Garcia and Theo van Doesburg: The Antagonistic
 Ibid. 136.
 Ibid., 136.
 Joaquin Torres-Garcia, Museum of the Rhode Island School
of Design, Providence: 1970, 22.
 From the authors interview with Cardillo in the artists
studio, July, 2004, Gardiner.
 The colonial map analogy appears previously in the discussion of
Cardillos archeological installations, in context of travel and
pilgrimage, in Lucy Lippard, "Contact Zones: Travel and Archaeology
in the Works of Rimer Cardillo", Araucaria, 29-33.
 Anderson, Imagined Communities, 172.
 From the authors interview with Cardillo in the artists
studio, July, 2004, Gardiner.
 From the authors interview with Cardillo in the artists
studio, July, 2004, Gardiner.
 From the authors interview with Cardillo, July, 2004, Gardiner.
 Anderson, "Census, Map, Museum" in Imagined Communities,
 Anderson, 163-165.
 As Anderson explains, "interlinked with one another, the census,
the map and the museum was to illuminate the late colonial states
style of thinking about its domain. The "warp" of this thinking
was a totalizing classificatory grid, which could be applied with endless
flexibility to anything under the states real or contemplated
control: peoples, regions, religions, languages, products, monuments
and so forth." Imagined Communities, 184.
 From the authors interview with Cardillo, July 29, 2004,
 The tapestries of the 16th century Spanish court, representing
the victory over Islamic Spain and North Africa serve as an example
of historical narratives "woven" into the royal architecture,
to inscribe on the monumental walls of palaces and banqueting halls
a sense of political, religious and cultural unity and continuity.
 Cortázar, Rayuela. Punto de Lectura, Madrid: 2002.
 Rayuela , 255.
 For different installation views of Tlazolteotl in the Bronx Museum,
1998, see Aracuaria, 27, 32.
 The photograph of the corner, intersection, street signs and traffic
light, is published in Aracuaria, 27.