Mail artists do not work alone. They depend on other mail artists for places to exhibit and for themes to interact with. They constantly publish each other's visual art, poetry, and essays. Mail artists do not see exhibitions, publishing, building Web sites, and participating in message boards as isolated acts. All of the acts of sending and receiving and documenting are small building blocks of the Correspondence Art Network, the Network, or, Netland. Charles Francois envisioned the network energized by electronic networks as a big pulsating sculpture. Baroni knows that mail artist are committed to a view of our planet as a single netland. Bloch's Internet is a mirror of the mind's great imagination machine with infinite possibilities. Tisma's vision of the network is a unique spiritual sculpture surrounding the Earth, a collective achievement of Mail Artists. Mail artists see the network that they have built as a whole, as a collaboration of gigantic proportions and lofty ideals. The Internet will not erode this sculpture in the minds of the artists who built it, but will the new Internet mail art generation value the global sculpture built of ideals? Will they ignore the mail art's global sculpture and instead amplify their own ideals to create the next global pulsating sculpture of art and interdependence?
I forgot to write that a man who looked just like Ray Johnson in his 60s came in the coffee house while I met with Annie. He sat by the window and the clouded sun bathed him in a diffuse light. Whoever he was, at that moment he also was a Ray Johnson portrait painted by Vermeer. He sat there alone and slowly drank a tall hibiscus iced tea. I had a hibiscus flower on my hat.