PRINT September 1983



CITYBOUND DURING THIS SULTRY JULY, I read Overlay anticipating a travel surrogate: a vicarious vacation to the cairns and henges of Wiltshire, England; a hike across the New Mexico butte to see the kivas and petroglyphs. But who would guess that I would really be transported? Though the book is billed as a collage of contemporary art and the art of prehistory, that’s too modest a description of an ambitious, speculative account of the links between contemporary earthworks and site sculpture and those primal ruins that dot unlikely mesas and moors all over the globe. Utterly unlike any art history or criticism I’ve read before, Overlay does not presuppose a notion of progress in art, refuses to present a linear chronology of events from prehistoric to what one might call “posthistoric” times, but instead intuits a sense of the need to create megaliths that have a ritual or spiritual function

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