This is a promotional postcard for the Venice Biennale from 1920, with a muted palette and delicate graphic design. This immediately signals something about artmaking as a process of communication and exchange. The card is bisected into two distinct zones, one announcing the exhibition with elegant typography in red and blue ink, the other a handwritten address in black ink for a recipient named Philip Zilcken. I’m drawn to this duality: the cool, distant professionalism of the art world clashing with the warm, personal touch of a handwritten note. The official stamp of Paris, with its circular design, acts as a bridge between the two halves, a kind of portal between the public and private spheres. Postcards, like art itself, invite us to reimagine our relationship to time, distance and connection. They’re an ongoing conversation, linking then and now, here and there, and inviting us to consider what might endure, what might fade, and what new connections we might forge in the future.