Verhagen contrasts Tiravanija’s celebration of the contemporary artist’s travels with a reading of Walead Beshty’s FedEx Boxes (2007). The work is composed of laminated and mirrored glass cubes, which are shipped in FedEx boxes between exhibitions, where the boxes are transformed into their pedestals. On top of the boxes are waybills and custom notes, symbolizing the ‘elaborate machinery of modern border controls’. In these material forms, Beshty highlights not only the volume of handling and shipping that contemporary artworks undergo, but also the associated knocks and blows. The cracked surfaces of the glass cubes reveal the institutional processes of their exhibition—‘the more they travel, the more damaged they are.’ For Verhagen, the cracked glass evokes structures damaged in violent conflicts, and hence points to other travellers: peacekeepers and refugees. On an aesthetic level, Verhagen sees this work as breaking with traditional assumptions of artworks as timeless objects that require careful conservation. Though this assumption has obviously been under attack for almost a century now, alongside complex and ambiguous expressions of the ‘homelessness’ of art, Verhagen reads this piece as articulating the specific nature of travel today, showing increased movement in conditions of globalization to be heavily associated with ‘risk and degradation’.