The first Palestinian Pavilion at the Venice Biennale opened in 2009 after months of confrontation with the Biennale management and the city government. The pavilion, curated by Salwa Mikdadi, featured seven artists from Palestine, including Emily Jacir. In her work “Stazione”, twenty-five specially selected ferry-stops in Venice were to be marked with the Arabic translation of the station name. Jacir deliberately chose places for her artwork that played an important role in the historical relations between Venice and the Middle East, such as for example the Arsenale, where the ships of the Crusaders were built and set off for Palestine, or the Fondaco dei Turchi, where Ottoman and Arab merchants could sell their goods. “Statione” interferes with the Venetian landscape and thus shows the invisible social connections that exist between Venice and Palestine. The station houses, which are well-known and characterize the cityscape of Venice, are transformed and supplemented by something that does not seem typical for Venice at first glance. Jacir opens the tourist view, on the one hand of the many Arab tourists in Venice, but also of the Biennale art elite, and the historical view of the many commercial and research visitors who travelled from Venice to Palestine or vice-versa. In the end, the landscape manifests itself a second time as a documentation in the pavilion itself and as a map to be distributed in various public places. In addition to photos of the ferry-stops and details of where to find them, the map also contains explanations of the significance of the locations for the intercultural history of Venice. However, about three months before the opening, the artwork had to be cancelled. The transport company withdrew their promised help in response to political pressure, and the mayor personally tried to convince Jacir to not realize the artwork. The Arabic translations were never put on the ferry-stops and the documentation wall remained empty in the Pavilion. Only the maps with the photomontages of the affixed translations were distributed, which gave the impression that the artwork took place. No notion of interference or censorship was ever presented to the public. The example of Emily Jacir's "Stazione" shows how the landscape is also perceived politically and that Arabic signs in Europe are erroneously understood as problematic. By using non-public archive material, I will demonstrate how strongly exhibitions from the Middle East are influenced when they enter public spaces in Europe.