Article: Mary Miss: Senior & Shopmaker Gallery.(Biography)

Rosalind Krauss begins her canonical 1978 essay, "Sculpture in the Expanded Field," by considering an artwork made by Mary Miss earlier that year. Almost invisible from a distance, the piece is nonetheless enormous, its elements spanning four acres and comprised of vast amounts of steel, wood, and soil. Krauss attributes the work's visual elusiveness to its placement literally below the radar. One of its components is a labyrinthine underground courtyard accessible to viewers only by descending a small wooden ladder. Yet, Perimeters/Pavillions/Decoys can hardly be considered "entirely below grade," as the critic argues, since it also includes two earth mounds and three ...

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