Baltz’s exhibition presentation was very carefully considered:
'It was important to me to play a double game. That is to say, these photographs were images, and I wanted them to have a second existence as objects. Because a photograph is an object, but a certain kind of object – not the same kind of an object as a painting or a sculpture or, say, a Maserati, but it’s a certain kind of object. And I was interested in stressing its particular objecthood' (Archives of American Art Oral History Interview with Lewis Baltz by Matthew Witkovsky, 15-17 November 2009).
Baltz’s exhibition prints were dry-mounted flush to a second piece of archivally processed photographic paper. The corners were clipped diagonally and the edges of the photograph were blackened with India ink. The photograph was then mounted to Strathmore board slightly warmer in tone than the prints themselves. This presentation method ensures the photographs stand apart from, rather than sink into, their surroundings.
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