Alice Adams

Princeton University Art Museum

Site-specific sculpture may be the most overworked, underdeveloped genre spawned by ’70s art. Overworked, because there was so much of it; “projects in nature” and environmental works flourished in abundance. But underdeveloped, because the issue of siting was rarely addressed. Most artists who took to the woods and fields, leaving galleries and museums behind, packed along their old studio notions to adjust, alter, and generally impose on the specifics of their sites. And then the critics moved in, talking of landscape and architecture, of open and bounded space, of “exceeding” sculpture and the “expanded” post-modernist field . . . Somehow the sculptural role of interpreting space, taking cues from place to talk about the natural environment, vanished in the theoretical breeze.

Among exceptions, though—works that fully explore their sited condition—is Mound for Viewing Slope and Sky,

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