In his 1996 essay, ‘A Theory of Tourism’, Enzensberger noted that tourism advanced in step with industrial capitalism, as an expanding urban bourgeoisie took advantage of new means of transport to escape from increasingly congested cities. But as tourists’ experiences are entirely shaped by the forces they wish to break away from, their radical taste for new freedoms is inevitably frustrated. Tourism is thus ‘always outrun by its refutation’. This dialectic is the driving force of tourism’s development, and it ‘redoubles its efforts after each defeat’. For Verhagen, Enzensberger’s point retains its relevance today, the rise of global trade and the development of budget travel going hand-in-hand since the 1960s, both shaping tourism into a ‘potent instance in the expansion in global trade and a catalyst for other forms of social exchange’, as well as a tangible mode for insertion into global circuits. Verhagen contrasts Almond’s work to the direct engagement with mass tourism in Peter Fischli and David Weiss’s Visible World (1986–2001), an installation of 3,000 tourist photos displayed on light-boxes. More jarring is Turista (1994) by Francis Alÿs, an important artist for Verhagen. In this performance piece, documented in photographs, Alÿs stands beside the plumbers, carpenters and electricians offering their services on the Zócalo in Mexico City, his own sign reading ‘Turista’. As Verhagen comments, ‘In Alÿs’s action, the inappropriateness of his appearance among the job seekers illuminates his privilege and, by extension, the structural economic imbalances that underlie it.’