It was a joint decision of four curators at the Stedelijk Museum to exhibit the work of ten artists from six European countries under the title “Correspondentie Europa” (Correspondence Europe), assembled under a concept dictated primarily by democratic principles. However, the very title of this exhibition promised more than it delivered. Those who anticipated discoveries by industrious correspondence artists were as disappointed as those who expected a carefully planned harmony of Baudelairean correspondances. And although one could argue about the choice of participants—Jean-Charles Blais,