The protean project Of Bridges & Borders, conceived by Sigismond de Vajay in 2009, encompasses the publication of books, the presentation of exhibitions, the organization of conferences and concerts, and the installation of pubic works of art in different cities. "Expect anything," promises one of the descriptions of this project that has already concentrated, in some of its iterations, episodes that became mythical: during the opening of the exhibition presented at Proa Foundation in Buenos Aires, in 2011, a work by Jorge Macchi exploded unintentionally. It was a glass fence. Macchi had contributed to the show with a work that subverted our habitual logic. The fence, an obstacle to passage, intended to set traffic with clarity and precision, became fragile, almost undistinguishable but nevertheless present (control remained there despite its transparency, stalking us, bringing movement, reminding us of its authority). When opening time came, curious visitors walked around the work, whose title, Reacción (2010), was well suited for what happened next. The wooden floor vibrated subtly due to the visitors' movements. Their small steps, added up, became explosive. The work reacted. It shattered. In front of everyone, a barrier was destroyed. In that sense, the dream of many was fulfilled. The book Of Bridges & Borders, Vol. II, recently launched, opens with a text where the incident described above resonates. In a kind of prologue titled Symbolic sod the Border, anthropologist Marc Augé notes that the notion of a "border" implies both a passage, the possibility or moving towards a different place, and an obstacle. But "bridges," Augé continues, disambiguate the "border." The bridge makes it possible to cross the border, penetrating another geographical territory or, in a figurative sense, another culture, learning another language, untangling a system of symbols. In this way, a "border" is no longer an obstacle. It is an antonym of "barrier." And thus explodes the idea of a border connected to domination, to authority, patrolling and inspection or credentials, supervision, intellectual or directly physical police power. Augé rejects the idea of an overbearing border and considers other kinds of dividing lines, related to pluralism, knowledge, and a meeting of differences. Augé closes his meditations with a question: "What is education itself but a bridge that allows us to effectively connect with others, safeguarding at the same time personal identity?" The texts and images that follow answer this initial question from many points of view. The volume gathers contributions by artists, architects, anthropologists, curators, designers, graphic artists, writers, philosophers, and sociologists, coming from countries as different as Argentina, Colombia, South Korea, Spain, the United States, France, and Mexico. The writer Graciela Speranza anchored her essay "Variations on the 'between two.' Three episodes in Latin American Art" on the concept of the "between two," taken from Gilles Deleuze, who in turn used it in his analysis of Michel Foucault. While thinking itself takes place "between two"—weaving ideas, testing analogies—the concept is interesting to engage contemporary life because it proposes an exploration "between words and things," as the author says. It also asks us to contemplate the affinity, or lack thereof, between words and images, the latter being the hinge on which the three examples or episodes turn: the words used by Alfredo Jaar in his visual works; the relationship between Paul Celan's poetry and the work of Doris Salcedo; and the written documentation that accompanied the meteorite appropriated by Guillermo Faivovich and Nicolás Goldber...