The Intelligence Series introduces a juxtaposition that requires the viewer to look closer. The image of the warplane is ubiquitous in our visual lives. At air shows at military bases all over the world American warplanes are held as symbols of powerful liberation, yet in the rest of the world, particularly those zones that Americans are involved with militarily they are often symbols of anxiety and terror. Attard’s juxtaposition of Maltese lace and warplanes is at first confounding and unsettling. The first wave of imagery that comes to mind has much to do with the ego, man’s desire to control as much space and humanity as possible through force, and the decline of the agency of the ego, old age represented by the lace patterns. The crux of the Intelligence Series is the notion of historical cultural hegemony juxtaposed with the symbol of contemporary global domination. Flight as a means of escape or as transformative act sits comfortably in the scope of Attard’s pantheon of philosophic concerns. When does a connective, productive, technological advancement become a thing of death and destruction? When do we go to far? Where is the line that we all too often cross ironically when we buffer ourselves from one another? Again by conflating his visual language, Attard achieves a highly readable fugue state of identity crisis.