As Salwa Mikdadi puts it in her curatorial statement on the Palestine c/o Venice website, “[t]he title of the exhibition... underscores the current impermanence faced by Palestinian artists...”. The idea of place in transience is at the core of this collateral event of the Venice Biennale – collateral precisely due to its status as an exhibition without national representation. Clearly, such an intrinsic conceptual backbone was to underpin the event’s visual identity as well. By liberating ourselves from the fixity of geographic location, “Palestine” is simply transported to where Venice falls on the world map. Light lines of longitude and latitude become the subtle indicators for this “new” location as they occupy the backgrounds of applications. A variety of typefaces, hatching treatments and other elements that reference map graphics complete the cartographic language adopted for this historic participation: the first of contemporary art from Palestine at this major international art event. Duplicates of the work were simultaneously exhibited in six art institutions across Jerusalem and the West Bank.