To the beat of Pink Floyd, Zabriskie Point ends with the leading character getting into his car alone and driving into the Arizona desert, a mythical place with a hostile beauty that Antonioni used as a visual metaphor of the countercultural breakaway from 1960s society, and which a half-buried pavilion in a plain close to Mexico now draws attention to.

The structure, made of concrete poured into the formwork on the site, shapes an inverted ziggurat embedded into the clay-like earth, and leads to a cell protected from the harsh sun and strong winds. From the roof, four arms of concrete stretch on at ground level in a kind of crossing of abscissas that claims a presence in the territory, and which, like the footprints that Robinson finds on the beach, are signs of man’s hand on the way to the barren spot.