The essayist Pablo Oyarzún discusses the work of Eugenio Dittborn, stitching together a patchwork quilt of quotes and references. He talks about what is “legible” and “illegible” in the Chilean experimental artist’s work; the relationship between techniques, history, and domination; and “the fold” he uses in his mail art. Oyarzún analyzes the artist’s custom of mailing letters, and mentions the cryptic aspect of his work: the secret involved in folding and unfolding, hiding and revealing the addressee. 

This essay appeared in Pinturas postales de Eugenio Dittborn (Mail Paintings by Eugenio Dittborn), the catalogue that was produced after the exhibitions held at the Sur and Bucci galleries in September and October 1985. The exhibitions were titled 12 pinturas aeropostales (12 Airmail Paintings) and 6 pinturas aeropostales (6 Airmail Paintings), respectively.

Eugenio Dittborn was involved in the experimental projects undertaken by the Escena de Avanzada in Chile in the mid-1970s during the military dictatorship (1973–90). He produced different kinds of art, but his best-known works were his Pinturas Aeropostales, which were officially exhibited in 1984, and were a reflection of the new approach to painting that emerged during the 1980s. Dittborn’s canvases measured 2.10 x 1.40 meters, and were festooned with ink spots and texts and images of various kinds. They were silk-screened and mailed, like a letter, in an envelope, each with its own title, technique, text, and itinerary. On arrival at their destination they were unfolded to be hung, like paintings. His works were thus able to come and go, into and out of the country, during the dictatorship, and “the fold” was a sign that the work had traveled (or gone into exile) or was at home in different places.