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The Art of Existence: Three Extra-Visual Artists

IT SEEMS A TRUISM at this point that the static, portable, indoor art object can do no more than carry a decorative load that becomes increasingly uninteresting. One waits for the next season’s polished metal boxes, stretched tie dyes and elegantly applied liquitex references to Art Déco with about as much anticipation as one reserves for the look of next year’s Oldsmobile—Ford probably has a better idea. At least a couple of routes move away from this studio and factory generated commodity art. One urge seems to be to employ physical materials and processes in an exterior situation where gigantic scale, vast amounts of natural materials, and the power of great quantities of energy, both natural and technological, can be brought to bear on the interaction of making. But another side to outdoor making might be referred to as “designated” art or an art of location. Such work comes under the

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