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Elizabeth Schambelan talks with the curators of Skulptur Projekte Münster ’07

EVERY TEN YEARS, sculpture’s still-expanding field maps itself across a particular geographical terrain: the streets of Münster, Germany, where Skulptur Projekte Münster was inaugurated in 1977. The show, which brings together a diverse array of practitioners to create projects throughout the city, is at once a kind of think tank for considering the relationship between art and the public sphere, and an ambitious state-of-the-medium report. Two projects from this year’s lineup—Bruce Nauman’s Square Depression, 1977/2007, an “inverted pyramid” incised into the lawn of the city’s Institute of Sciences, and Dora Garcia’s production of John Gay’s Beggar’s Opera, staged so as to be “barely distin­guishable from real life”—suggest the broad continuum that the exhibition will traverse. Staking out various points along it are some thirty-five artists, including well-known figures (Pawel

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