PRINT April 1992


IN A WUTHERING KIND OF HARMONY with all precedents in his work, Keith Sonnier’s El Globo (The globe, 1992), an 18-foot-long wind sock made of nylon sailcloth and animated by a fan, waves, flutters, hums, drones, lures us like some great piece of gossamer bait. Perhaps the most strangely evocative of Sonnier’s new pieces, El Globo was named after, but not modeled on, those brightly colored, kitelike paper projectiles that cross the skies in Guatemalan villages at Christmastime—a bit of ritual pageantry observed by the artist in the course of his peregrinations this past winter. El Globo suggests a novel mode of transport for Sonnier, analogous, perhaps, to the current revival of hot-air-balloon travel in the age of NASA. It could make you leap to the conclusion that the artist, probably best known for his offbeat performances and high-tech tinkering—for satellite video transmissions, for

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