In his intermedial installation Postcards from the Desert, Michael revives and transforms not only fragments of luxurious Egermann glass, but also modernist concepts and visions. First and foremost, he updates the technique of collage. He combines random shapes of shards, whole sheets of kitschy glass, and its fragments in various ways. He complements them with drawings made with ordinary crayons on a sandblasted surface or compositions made of glass threads and their fragments. This creates unique glass reliefs that sometimes resemble laborious embroidery. The glimmer of luxury in this "glass collage," in the remnants of Czech-made export goods, no longer primarily tells a modernist story of progress, of the emergence of a new artistic reality. It is much more a story of a globalized world with a worldwide cycle of resources and materials, human labor and tourism, a story of the vast differences between different social classes. It is also a story about exoticism, which can be conveyed to wealthy Saudi clients by European and especially Czech glass traditions, while for Europeans, this exoticism will be represented by more or less concrete orientalism. This rich network of meanings and associations connected with Orientalism and exoticism also includes the phenomenon of sex tourism – erotic and sexual motifs are commonly present in Michaela Spružinová's works, and the author has been critically reflecting on the topic of sex tourism for a long time.