PRINT Summer 2005


ONCE UPON A TIME IN THE WEST, a group of American artists went into the remote landscape to push beyond the conventional boundaries of both the art world and the artwork. They sought a territorial tabula rasa for their practices, a sublime expanse whose real contours would accommodate an “expanded field” of sculptural practices that might fall outside the traditional circulatory infrastructure linking studio, gallery, museum—and even magazine. More than thirty years later, the lure of the “remote” remains seductive, but at the same time one wonders: Is such physical and conceptual terrain even available to artists today? With the remarkable expansion of the international art world and the proliferation of biennial exhibitions to points all over the globe, Smithson's idea of an “indoor-outdoor dialectic,” for example, can seem anachronistic if not quaint. Now that the art world lacks a

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