The prints are made using a low technology process, hectography, where images are transferred and duplicated on pans of gelatin. Hectography was historically useful in circumstances that required clandestine distribution of information where all traces of the printing process could be discarded. Foster often wrote comments on the menus, and the artists have animated his commentary and noteworthy menu items through a typeface created from a disassembled greeting card rack. Gelatin has been poured into suitcases and turned into a printing apparatus, both on the surface and from within as the gelatin absorbs dyes from the suitcase linings.
The tables reference campaign furniture, portable furniture developed primarily for military and colonial conquests in the 19th century and, like the airline menus, embody a peculiar conflation of domestic comfort and luxury with an enthusiasm for mobility. Like the menus, they are a calculated distraction from the conspicuous physicality and anxiety of travel. The elements in this installation animate the tendencies and psychological predicaments of anthropological thought as well as the interpretive stakes of artistic speculation across cultures, over many years, thousands of miles and an altitude of 35,000 feet.