The work of art is a scream of freedom.
It is not only one person's work, it's really a partnership and collaboration during all these years.
We tell them that we believe it will be beautiful because that is our specialty, we only create joy and beauty. We have never done a sad work. Through the drawings, we hope a majority will be able to visualize it.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
And for me, the real world involves everything: risk, danger, beauty, energy, all we meet with in the real world.
If some of our works are symphonies, then wrapped walkways was chamber music.
And the most unusual and surrealistic place in New York City is Central Park.
That could stay, not forever, because we believe that nothing exists that is forever, not even the dinosaurs, but if well maintained, it could remain for four to five thousand years. And that is definitely not forever.
Because we do not sell photographs, we have no royalties on books, posters, postcards.
But the drawings are not created only to be sold.
We don't sell technical drawings except when they are incorporated into a drawing or a collage.
You see, we are not machines and we do not have lots of ideas in a drawer.
And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.
The other exception where we did not at all restore the place to its original condition is the Surrounded Islands. Before we installed our fabric, we had our workers remove 42 tons of garbage off the beaches of those islands. We never brought the garbage back.
People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.
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