In Ed Ruscha’s Petro Plots (2001), the artist takes a selection of major Los Angeles intersections, and integrates the grid into the surface of what appears to be stone. Once again calling upon the distinct Mixografia® technique, the prints take on three-dimensional texture to deceive. The streets are named in a straightforward manner, but the texture of the handmade paper obscures the names from sight. Visually, these minimalist maps are cunning and candid.
there should be no north, for us, except in opposition to our south. so we now turn the map upside-down, to give us a fair idea of our position, and not as they wish in the rest of the world.
—joaquín torres garcía, 1941