1968 (2)

Ten days later. It's now Friday March 26. I'm no longer in Mexico City. Let me explain.

I'd thought it was time to get some definitive answers to the questions that were building up, so I wrote to the One Million Years Foundation - basically On Kawara's family - via Jonathan Watkins. He has now written back to me enclosing the thoughts of an anonymous insider. His or her answer contains this intriguing sentence:

'I read Duncan’s blog entries and enjoyed his approach to unfold On’s unknowns while coming up with interesting hypotheses. That brings me to question whether that quality would be lost if he is directly connected to us and we were to answer every question. After all, it is still very early in the game… I hope that he understands that we are not trying to be discouraging, but merely interested to see where this is going.'

To be honest, I'm glad I'm not going to be receiving the information I asked for, which included all of I MET for May '68, and all of I WENT for July. If I only have access to material that is in the public realm, via images on the internet and published books, then I can keep up a relatively fast pace through this investigation. On we go, then…


Even as things stand, I could end up disappearing down a wormhole. For in the last few days, since they're reproduced in the On Kawara volume published by Dallas Museum, I've had the whole of July's I MET at my disposal, starting with this one:

Reproduced thanks to the understanding of the One Million Years Foundation.

Anne Wheeler tells us in another volume, On Kawara - Silence, that Kasper König had once challenged On Kawara to come up with a poem that could work anywhere in the world. In Mexico City, On Kawara was in the habit of asking the international students and artists that used the Monte Carlo Hotel to write down their names, if they were unfamiliar to him, and he realised that the variety of name-types had a certain rhythm and interest. And so he formalised the process. As you can see from the above list, there are Spanish names, Japanese names and English names, for starters. The very first one: 'Rudolfo Leonardo Francisco Luis Gonzales Garcia' is almost a poem in itself.

In July of 1968, On Kawara would have sent out 62 postcards: 31 to Kasper
König and 31 to a second person. I do not have access to any of them. He also painted 15 Date Paintings. All of the subtitles use quotes from the Mexican newspapers about world events, except for 25 July, which reads simply "Hotel Monte Carlo." Perhaps that means On Kawara didn't leave the hotel that day. His I MET list for the same day is shown below:

Reproduced thanks to the understanding of the One Million Years Foundation.

Often those first four names are at the top of the daily list. It suggests to me that those were the people On Kawara met over breakfast. But the hypothesis would be wrong if the I GOT UP cards suggest that Kawara got up at wildly different times each day. Having said that, the I MET lists for July suggest only one late night. In other words, only on 15 July do the final names on the day's list - Leonard Rosenfeld and Steve Gilbert - appear as the first names on the I MET list for 16 July, midnight being the cut-off time from one day to another. So my assumption is that this was a month of regular hours kept, and regular meal-times.

Also interesting are the three Hashimoto names. Could the Hashimoto family have run the hotel? Keiko may have come from Japan originally, but Roberto and Magdalena may have been born in Mexico. Altogether there were six Hashimotos met in July, spread over the whole month. Two with Japanese names and four with Spanish/Japanese names. Certainly, it is suggestive. Perhaps On Kawara even stayed in this hotel with his engineer father a few years before.

Okay, time to reveal the document that took me a couple of days to prepare, and has nearly caused me to go blind. Behold, July (days one to 31 along the top):


That's the first 30 names by the third day. Bill Barker is marked in red for July 7 because that day On Kawara placed him twice on his list. Which has to be a mistake, as it wouldn't be practical to mention meeting a person more than once in any day. There would be no end to it! The diagram goes on:


The Nakagawas' are a prominent twosome. Always met at the same time by OK early in the day, hence my assumption that they breakfasted at the same time.

Where does the name Blankenhagen come from? And Bangert?

The diagram concludes as follows:


So that's who On Kawara met in July. Thank God I don't have August's as well. The OMY foundation may have done me a big favour by limiting my access to these I METs. Do I mean that? Not sure. Moving on…


On Kawara only painted three dates in August. The 9th, 14th and 15th. On the 9th, something violent happened in Montevideo, involving students. On the 14th, the subtitle is again about Montevideo in Uruguay, and communist students. Though the extract of the newspaper that lines the Date Painting's box doesn't reflect that.

Reproduced thanks to the understanding of the One Million Years Foundation.

And on the 15th of August, the subtitle states: "Fourteen Cuban refugees fled Cuba in a Russian-made cargo plane, which crossed the Straits of Florida and landed at an airport 40 km south of Miami."

On Kawara may have taken more than a month away from Date Painting. I mean from 16 August until 20 September. Could he have been visited by Hiroko in this period? The I MET would clarify. But in any case, he remained at the hotel, as this postcard attests:

Reproduced thanks to the understanding of the One Million Years Foundation.

William Copley was a New York-based artist who had publishing interests. As Wikipedia says: 'In 1967, after a divorce with his second wife, Noma, Copley and new friend Dmitri Petrov decided to publish portfolios of 20th-century artist collaborations with the abbreviation SMS (for "Shit Must Stop"). Copley's Upper West Side loft became a meeting place for performers, artists, curators, and composers to work together on the open-ended collective. The SMS portfolio contained six volumes, each of which were shipped out from the artists to subscribers. The works included came from artists both well-renowned and obscure, including Marcel Duchamp, Roy Lichtenstein, Man Ray, Christo, Richard Hamilton, Claes Oldenburg, John Cage, Terry Riley, La Monte Young, Dick Higgins, Ronnie Landfield, Bruce Nauman, Meret Oppenheim, Neil Jenney, Yoko Ono and others.' Others included On Kawara.

Here is another postcard to William Copley, a few days later.

Reproduced thanks to the understanding of the One Million Years Foundation.

Here is photo of William Copley in his Black Press office in New York in 1968. Shit Must Stop: an irresistible phrase that. I expect it intrigued On Kawara also:

Shit must stop!
I got up at 10.42 a.m…. and did no Date Painting.
Shit must stop!
I got up at 11.11a.m…. and did no Date Painting.


I'm going to suggest that William Copley may have been receiving the second postcard since the inception on May 10. His SMS publication had begun in February, 1968, and the first issue contained work, a treated set of four historic photographs, by Kasper Konig. No doubt On Kawara would have seen this publication, and met William Copley, before leaving New York at the end of March.

So the connection was made, and at some stage On Kawara had provided Copley with the first of the 100-year calendars he would make. And in August of 1968 Copley had printed it onto yellow oil-paper.

Image from Wright Auctions

In the image below, each year in the 20th Century is shown, divided into months. Every Sunday is shown as a dot, so that the calendar is more 'usable'. If you look closely, you can see a double red line up the middle of the calendar. This lists the years from 1901 (at the top) to 2000 (at the bottom). Complementing this vertical feature is a horizontal double red line, above and below the days that make up 1968, which you can see in the bottom half of the image.

Image from Wright Auctions

I wrote 'usable' facetiously. But, on reflection, it might indeed be useful to have a single document on which one could mark one's birth and other notable lifetime events, as well as keep track of what has been happening in recent weeks.

On Kawara would no doubt have been pleased to be part of this esoteric art world production.
SMS came in an exquisite cardboard box, echoing his own Date Painting practice. That's the box at the top of the next image.

Image from Wright Auctions

A line of On Kawara's yellow calendar can be glimpsed at the back of the pack which has a colourful hat/boat by Roy Lichtenstein tucked into a front flap.

What else was in issue 4? The next image shows the context in which On Kawara's work was being presented. New York art: conceptual, contemporary and cutting edge.

Image from Wright Auctions

It would have made sense to send William Copley a long sequence of I GOT UP AT postcards. With Kawara being one of the featured artists in his August issue, I can imagine Copley giving the postcards to friends and colleagues as fast as they arrived. Every day from May 10 until the end of August. But once the card was given away by its intended recipient, the importance of it to any subsequent owner was likely to be much less. And so, I suspect, these postcards were not preserved, by and large. There are only two kicking around the internet. Two from over a hundred sent to the second recipient from May 10 to August 31. Thank goodness for Kasper's collection.


On Kawara made a Date Painting on September 20; two on the 21st; and another on the 22nd. The subtitle of this last was written in English, not Spanish, and reads: "I got up at 10.36 A.M."

As it happens, I have a repro of the second postcard for that day (KK was still getting the first one) and it confirms the getting up time.

Reproduced thanks to the understanding of the One Million Years Foundation.

So who was John Evans? Another New York artist interested in postcards. His Wikipedia entry tells us that he was just about the same age as On Kawara, and that he made daily collages made from found objects in the East Village of New York City. It says further: 'In 1964 Ray Johnson introduced Evans to the international Mail Art underground. Initially, the works went from one artist to the next, with each adding additional embellishments before mailing it. Here Evans began using the stamp "Avenue B School of Art", referencing the neighbourhood in which he lived and where the art originated.'

So On Kawara may have got from John Evans the idea of using inked rubber stamps on a postcard. Though I dare say the history of using rubber stamps on paper is more complicated than that.

Reproduced thanks to the understanding of the One Million Years Foundation.

Apparently, the address Evans used for his Mail Art was 'John Evans, Avenue B. School of Art, 199 E. 3rd Street - 2B, NEW YORK , NY 10009, USA.' I wonder why that address doesn't correspond with the one used by On Kawara.

I've just done an Internet search and see that a postcard sent to John Evans on September 9 ended up in a French artist's collage. I expect that was the fate of many of the early postcards. I mean either to be discarded as ephemera, or recirculated amongst the Mail Art set.

Reproduced thanks to the understanding of the One Million Years Foundation.

From the above, it seems that its treatment has preserved the ink rather well.

(I got up at 11.58 A.M? Such shit really must stop!)

On the other hand, the postcard is only a small part of the resulting collage, middle right in the image below.


By the end of September, after six months at the Monte Carlo Hotel in Mexico City, On Kawara had left Mexico for Bogota, the capital of Columbia. He would only be there for a week or so, but he made a Date Painting on the 28th and the 29th of the month.

Reproduced thanks to the understanding of the One Million Years Foundation.

In essence, Mexico had been a home-from-home. On Kawara decided to up his game when he left Mexico City. He really was taking his practice on the road for the next six months. Whether he sent ahead - or someone else did - boxed canvases to paint on. Or whether they were part of his luggage, I couldn't say.


After about a week in Bogota, Colombia, On Kawara continued to fly south to Quito in Ecuador. I can't be more specific than that, as all I have to go on is the Journal with the list of Date Paintings, divided into the cities where they were made.

On October 1, he painted a third Bogota Date Painting. And on October 4, he painted the first of his four Quito Date Paintings. Let Google translate all four from the Spanish:

October 4, '68: "Five unidentified flying objects were perceived tonight from various points in Malaga, Spain."

October 5, '68: "In Tokyo, the world champion of lightweight in boxing, the Japanese Hiroshi Kobayashi, today maintained his title by defeating Jaime Valladares of Ecuador."

A Spanish name and a Japanese name to be discussed around the table in Hotel Monte Carlo? On's much-missed Mexican home-from-home.

October 6, '68: "A woman with grey hair today forced the pilot of a Mexican tourist passenger plane to go to Havana, when the machine was flying over the Cariba Sea."

That story would have caught On Kawara's eye. And it may have still been on his mind when he chose what bit of the paper to line the box with. Queen of the Sky!

Reproduced thanks to the understanding of the One Million Years Foundation.

October 8, '68: "The first anniversary of the death of 'Che' Guevara."

I don't have a repro of this last Date Painting, but I do have the next best thing. Postcard for Kasper! A card to his great friend reminding him that Ecuador is so called because it lies on the equator.

Reproduced thanks to the understanding of the One Million Years Foundation.

Not up until 12.11? So the shit still hasn't stopped. One can tell that October 8 wasn't a Date Painting day. What am I talking about? Of course it was! It was the one-year anniversary of Che Guevara's death and that had to be commemorated in due solemnity.

By October 14, Kawara was in Lima, Peru. But he was still in Quito, Ecuador, on October 10, because here is the day's I WENT.

Reproduced thanks to the understanding of the One Million Years Foundation.

Let me reorientate so that north is at the top, and zero-in. Like so:

Reproduced thanks to the understanding of the One Million Years Foundation.

And now let me turn to Google Maps. Marking with a red circle where On Kawara slept (at the Hotel Majestic, as per the postcard to KK), and those seven points where OK visited a place.


I seem to have assumed On Kawara to be in an effervescent mood this day, judging by the kicking symbol. I would like to see I MET for October 10. And the I GOT UP postcards for then. But I must be content with the riches that I do have at my disposal. Let's take a stroll through the centre of Quito, starting in the Hotel Plaza Grande (formerly the Hotel Majestic), Quito.


I'm reading online that the building was erected in 1930. 'Due to its height and exterior decoration, it's one of the buildings that stand out most in the whole of the central square of the capital of Ecuador, in addition to being recognised as the first great hotel of the belle epoque of the city.'

In 2007 it changed its name from the Majestic to the Hotel Plaza Grande.


That bottle of wine can't be for On Kawara - I'm reliably informed that he did not like alcohol. Though he did smoke.

So it's for me then? That makes a lot of sense, but let me just go over where we've got to. This fantastic place overlooking a lovely square, the Plaza Grande. How did On Kawara afford it, given that his plan was not to sell any of the Date Paintings for five years from the inception of the project?

10 Oct. '68, A.M.: Telegram to Kasper König: "PLEASE SEND OODLES OF CASH STOP SOONEST."

10 Oct: '68, P.M.:Telegram to Kasper König: "I MEAN IT K STOP LOADS OF MONEY STOP URGENT."

Also on the table is (or was) a parcel made up of the Date Paintings of October 4, 5, 6 and 8. The ones subtitled in respect of the UFOs over Spain; the world-championship boxers in Tokyo; the grey-haired queen of the skies; and Che Guevara. Not as down to earth or as political (Che excepted) as his usual Date Paintings, which is understandable given these elite surroundings. I mean this must be the most inspirational place in Quito! Certainly, the fine local wine is slipping down nicely.

Question: "How am I going to get those wonderful Date Paintings to New York?"

Answer: "Not my problem."

It was restrained of On Kawara not to distinguish, on the cards to KK, whether a day was intended to be a Date Painting day or not. Without that info on the postcards, Kasper might conclude that his friend was enjoying a typical tourist agenda. So maybe the Date Paintings were indeed being sent to him in
New York.

As for Hiroko, surely she was missing her partner. Surely they met up during On Kawara's year of travelling South America. The I MET lists would reveal if she'd stayed with him in at the Hotel Monte Carlo in Mexico City in the DP-less month from mid-Aug to mid-Sept. But it strikes me that right here would be a lovely place to have a liaison…

I suspect not though. Too much Date Painting was going on. On Kawara would have given that a rest in order to enjoy Hiroko's company, and vice versa.

It's not until the day after that I take my stroll around the city centre. October 11, 1968 (cum 27 March 2021). So here we are just outside the hotel.


I've had a quick tour round the streets On Kawara walked. I suspect he was just taking in the local beauty spots. This church, for example, on the other side of the Plaza Grande.


So I'm just going to get on with it, as On Kawara did. Next stop, Lima, capital of Peru, where he made Date Paintings on the 14th, the 16th and the 17th of October. I've just found this picture of three postcards on the web. See the second one down:

Reproduced thanks to the understanding of the One Million Years Foundation.

The Hostal Del Sol does not sound as upmarket as the Hotel Majestic. So I'm not going to drop in on Lima, not without an I WENT to guide me. I'll save that for another time. Besides, I'm not sure On Kawara was really grounded when he was in Lima. Each of the three Date Paintings he made there is called the same extraordinary thing. In Spanish it reads: "La Apolo-7 en el espacio y la XIX OLympiada an la Ciudad de Mexico."

I can translate that myself without any help from Google: "Apollo 7 in space and the 19th Olympics in Mexico City."

Ziggy Stardust and the Spiders from Mars. By which I mean, I have the feeling that On Kawara was as high as a kite here, and enjoying himself to the max. I know that Date Painting for On Kawara was essentially a meditative process. But I wonder if, from time to time, it could be an ecstatic one:

"Ziggy really sang
Screwed-up eyes and screwed-down hairdo
Like some cat from Japan
He could lick 'em by smiling
He could leave 'em to hang
Came on so loaded, man
Well-hung and snow-white tan."

That bottle of wine from the luxury pad in Quito seems still to be lingering in my system. Let me try and ground myself by considering this infinitely calm painting.

Reproduced thanks to the understanding of the One Million Years Foundation.

In the text by Osho that was included - at On Kawara's request - in the 2002 catalogue On Kawara: Consciousness, Meditation, Watcher on the Hills, Osho writes as follows:

'All the techniques of meditation are to reveal the knower. George Gurdjieff used a particular technique just like this. He called it self-remembering. He said that whenever you are knowing something, always remember the knower. Don't forget it in the object. Remember the subject.'

But that's not quite where I am right now, so I'll be coming back to that later. What I'm saying here and now is that On Kawara is painting the picture. Slowly, carefully. And there is David Bowie singing and performing Ziggy Stardust on stage: exuberantly, gloriously. Two objects and two subjects, if you like. Except, really, in this case, I am the subject, and the object is made up of these two parallel subject/objects.

The two subject/objects have been chosen because they
complement each other. The most patient and deliberate of painters. The most extrovert and outlandish of performers. But really they are equally exquisite. Equally outrageous. Where the egoless becomes the egotist and back again in a rolling circle.

On Kawara wouldn't even go to the openings of his shows, partly because (I've just realised) he didn't want to be photographed at all, never mind in front of his own work. Ziggy Stardust is up there on stage making love to his guitar, teasing and seducing the audience. Everyone in the world is invited to take photographs of the beautiful creature.

"Like some cat from Japan…"

Reproduced thanks to the understanding of the One Million Years Foundation.

"He could lick 'em by smiling."

The foot of the postcard, several images up, shows that On Kawara's last night in Lima, Peru, was the 19th of October, and his first night in Santiago, Chile, was the 20th. He wasted no time settling into his new city lodgings, immediately making a Date Painting. Its subtitle requires no translation: "Jacqueline Kennedy y Aristoteles Onasis en su ceremony matrimonial en la Isla de Scorpios, Grecia."

Oh, On, have you joined the jet-set? Are you now indistinguishable from those celebrities that fly from one exclusive place on the planet to another and to Hell with what is happening in Paris or Viet Nam or Newark?

Yeah, well, I can't blame you.

"Ziggy played for time
Jiving us that we were voodoo
The kids were just crass
He was the nazz
With God-given ass
He took it all too far
But, boy, could he play guitar."

David Bowie released his Ziggy Stardust album in 1972. So that doesn't quite correspond, date-wise. But let it stand. Indeed, I am in the moment and I must stick with it.

"Ziggy played…"

For the last two or three hours the artist has been perfecting the letters. Infinitesimal changes have been made. He is in the moment. He has been in the moment the whole time. He is poised between the sight of the painting on canvas and the feel of the man holding the paint brush…

Reproduced thanks to the understanding of the One Million Years Foundation.


The painter can't let it go yet. He wants to hold the painting in his mind forever. That high note. He can hold it there on the point of perfection for hours. Forever, one might say. But not after midnight. No, never after midnight. The work must start again the next day.

I realise I've broken the rule that On Kawara learned following his painting of 20 September 1966. You can't hold onto
a day. All days are equal. So for me to talk about the 19th and the 20th of October, and then revert to my consideration of the 17th, even for the best of reasons, is a big no-no.

Another thought comes to me. Perhaps it was the Olympics coming to Mexico that accounts for the artist leaving that country's capital. The cost of the hotel room at the Hotel Monte Carlo would surely have rocketed. And On could watch the Olympics on the TV of a hotel room anywhere in the world.

On Kawara didn't go exploring the next day in Santiago either. He painted the date, its subtitle being the medal table at the Olympics, showing gold, silver and bronze tallies for the leading 22 nations. That is, every country that had won at least one gold medal. (Japan four and Great Britain two, if you're asking.)

Reproduced thanks to the understanding of the One Million Years Foundation.

The artist now had three weeks before he next made a Date Painting in Buenos Aires. Time for watching some more Olympics, though they finished on the 27th? Time for a visit from Hiroko? Time for a little look around? Where was he again? Santiago, Chile. Here is I WENT for October 23, courtesy of On Kawara: 10 Tableaux and 16,952 Pages. Which is to say, the Dallas Museum book.

Reproduced thanks to the understanding of the One Million Years Foundation.

Let's zero-in to the historical centre again. Let's face it, On Kawara does not concern himself with the suburbs or the industrial zones of these cities. Not from what I've seen anyway.

Reproduced thanks to the understanding of the One Million Years Foundation.

Over to Google for some help with the visualisation, albeit using 2021 maps and satellite views:


I've taken a tour, using the Street View function, up and down the streets that On Kawara strolled over 50 years ago. Fairly narrow streets and high buildings on either side, a bit like New York. The nine stops that On Kawara registered on 23 October may well have been for routine things, like banks, a post office, a paper shop and somewhere to buy cigarettes. But the only purpose for walking onto the Cerro Santa Lucia was to enjoy the fabulous views all around. This may be the pick of the available views, showing the mountains in the east.


After an hour up here, back to the hotel. I've been able to make out from a poor quality reproduction of the card that OK sent KK on October 24, whose picture looks as though it may have been taken from the Cerro Santa Lucia, looking west along the Avenue Bernardo O'Higgins, that the artist stayed at Hotel Sao Paulo, 357 San Antonio, Santiago.

That is the high-rise hotel marked with the small red tack, between two wider high-rises, one of which is the Hotel Santa Lucia.


Just a standard hotel. So it's looking like the one in Quito was the special one, maybe for a celebration. (Leave it, Dunc.)

Let's try to pull things together here:

  • OK was in Bogota, Colombia, for at least a week and he painted three DPs

  • He was in the fabulous hotel in Quito, Ecuador, for between a week and ten days, and made four DPs.

  • He spent another week, give or take a day, in Lima, Peru, where he made three DPs.

  • He flew to Santiago for a week or so, where he made two DPs straight away.


His next move was to Buenos Aires, Argentina, where he stayed for the rest of the year, except for a few days spent in Montevideo, Uruguay.


A postcard to Kasper Konig dated 25 October places On Kawara in Buenos Aires as early as then. This is when he took a break from Date Painting, not making any more until November 14. But that was the
only picture painted from October 21 to November 28. Which makes it a possible visit from Hiroko time.

Reproduced thanks to the understanding of the One Million Years Foundation.

It was during the last week of November that On Kawara travelled to Montevideo. He made three Date Paintings there. I have a reproduction of one of them. Really the book Date Paintings in 89 Cities, published in 1992, comes into its own in On Kawara's post-Mexico period. I bought it on 7 February, 1996, aware that I loved it, in the midst of writing Personal Delivery as I was, but not seeing its full potential.

Reproduced thanks to the understanding of the One Million Years Foundation.

Buenos Aires in December, 1968, Kawara made eight Date Paintings from the 13th of December to the 29th. I haven't seen repros of any of them either. I wonder if a consignment of Date Paintings went missing in the post. I suppose that is possible. If it did happen, the OMY Foundation will surely know about it.

Neither do I have access to any I GOT UP postcards or I MET lists or I WENT maps for November or December, so these become almost invisible months.

For now, I have to make do with subtitles of Date Paintings. Let us quickly see out the year with them.

14 NOV. 1968: "The Soviet Union announced that its spacecraft Zond-6 circled the moon today and is continuing its translunar flight."

28 NOV. 1968: "The Faculty of Political and Economic Sciences of Madrid was occupied today by the students who declared the 'Student Power'".

29 NOV. 1968: "Fog and a mass of icy air covered northern Italy today, causing a chain crash of 100 cars on the Bergamo-Brescia road in which three people died and 20 more were injured."

(The Spanish-speaking world does not pay much attention to the UK. When OK was in New York, there were references to Harold Wilson, the Beatles, and to skirts going up-up-up in Britain.)

30 NOV. 1968:" 'Hotel Parque Casino' with an EXCEDRIN tablet in Montevideo."

I suppose this last subtitle implies that On Kawara was staying at the Hotel Parque Casino. But without any I WENT or I GOT UP material there is not a lot I can do with the information.

So let's turn to December. Even just writing it up, I've become tired, what with one fascinating place/day coming so hard upon another. And no doubt On Kawara was exhausted, what with all the novelty, the excitement, the travel and the achievement. But there was one thing more to get the pulse racing faster in December. And I don't mean Zond-6. Three of the eight Date paintings have subtitles focussing on Apollo 8's mission:

21 DEC. 68: "The Apollo-8 spacecraft today got rid of all earthly obstacles in the greatest adventure in history and led its three crew members into interplanetary space on the first human flight to the moon."


27 DEC. 68: "Exactly at the set time, the Apollo-8 capsule carrying the 3 astronauts, Frank Borman, James A. Lovell and William A. Anders, touched the waves of the Pacific today just 5,000 meters from the rescue aircraft carrier Yorktown."

The Moon mission would get all the more exciting in 1969. Leading to you-know-what in July. I'm tempted to rush all the way there, immediately. But I'm even more interested in taking the journey one month of days at a time.

On Kawara stepping off the plane onto the runway in Bogota/Quito/Lima/Santiago/Buenos Aires. Pity that no-one was around to record him saying each time (with a good-natured, ironic smile): "One small day for man. One giant 'Today' for mankind."

Next page.

NOTE: 24 NOV. 2021

At the time of writing the above essay, I did not have access to the book,
On Kawara Horizontality/Verticality. This includes seven I WENT maps and seven I GOT UP AT postcards to Kasper Konig, one each from Mexico City, Bogota, Quito, Lima, Santiago, Buenos Aires and Montevideo.

Today I am composing a list of I WENT maps that I will ask the University of Michigan for. None from 1968, I think, given that I still have the aforementioned seven I WENT maps to look at.