For the past decade, a good deal of American sculpture has been playing an asif game: how to escape the museum while staying locked into the museum's certification. The strategy has been to make things larger and larger, to the point where the great outdoors must itself become a museum. This has created a stock of homeless public sculptureĀ"monumental" but commemorating nothing except itself, kept in the warehouse by a scarcity of sites and the forbidding cost of transport and installation. What park could be given to these orphans? How could their possible...
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