ONE PLACE AFTER ANOTHER - Monoskop

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27 For instance, Burton, arguably the most prominent and vocal among artists who espoused this
utilitarianism in public art, once said of his street tables and seating design for the Equitable
Assurance Building in New York City: “The social questions interest me more than the art
ones. ... Communal social values are now more important. What office workers do in their
lunch hour is more important than my pushing the limits of my self-expression.” As quoted in
Douglas C. McGill, “Sculpture Goes Public,” New York Times Magazine (April 27, 1986): 67.
28 Such practices are predicated on the conception of the site of art as mobilized and unfixed.
As such, the site is not only a venue of presentation but constitutes a mode of distribution as
well. I have described this kind of deterritorialized site as a “discursive site.” See chapter 1.
29 Richard Serra, “Rigging,” interview with Gerard Hovagymyan, in Richard Serra: Interviews, Etc.
1970–1980 (Yonkers, N.Y.: Hudson River Museum, 1980), 128.
30 General Services Administration Factsheet Concerning the Art-in-Architecture Program for
Federal Buildings, in Martha Buskirk and Clara Weyergraf-Serra, eds., The Destruction of
Tilted Arc: Documents (Cambridge: MIT Press, 1991), 23.
31 See Douglas Crimp, “Serra’s Public Sculpture: Redefining Site Specificity,” in Richard Serra:
Sculpture (New York: Museum of Modern Art, 1986), 40–56; and Deutsch, Evictions, 257–270.
32 Deutsche, Evictions, 261.
33 “Political” site specificity is Deutsche’s term, used to distinguish it from “academic” site
specificity. Ibid., 261–262.
34 Richard Serra, “Tilted Arc Destroyed” (1989), reprinted in Richard Serra, Writings Interviews
(Chicago: University of Chicago Press, 1994), 193–213.
35 See Rosalyn Deutsche’s critique of the conflation between permanence and universal time-
lessness during the Tilted Arc hearings, in Evictions, 264. See also Douglas Crimp’s interview
comments in “Douglas Crimp on Tilted Arc,” in Tom Finklepearl, ed., Dialogues in Public Art
(Cambridge, Mass.: MIT Press, 2000), 71.
36 Serra, “Tilted Arc Destroyed,” 202.
37 Ibid.
38 Ibid., 203.