From the viewpoint of his table in his favorite caf\'{e}, Baudelaire's gaze dissolved in the landscape to become object of third-party spectatorship. How does Baudelaire's modernism translate into the transitory nature of contemporary airports? As Marshall Berman suggests, Baudelaire's view of modernism has become `exotically archaic' for we now live in a `far more ordered and protected' place, away from the `human' moving chaos of Paris in the 1850s\cite{Berman}. Thus, if the chaotic Paris street depicted by Baudelaire encompasses a modern experience of spectatorship, the airport, the epitome of order and protection, sits at the opposite extreme, providing a \textit{supermodern} experience of spectatorship. This kind of spectatorship creates a new form of solitude. The spectator in an airport, being confronted with a landscape of constant activity and anonymity, becomes a component piece of such landscape --- a spectator and a spectacle at the same time.