This work is installed in a corner of the Foundation’s repurposed warehouse space near to another of Dill’s work, one of his Light Plains series. Made of basalt embedded in an armature of glass and steel, it is structured to lean at an angle into the space, looming over the viewer, although not in an intimidating way. The placement was chosen by the artist because — much like Donald Judd — he puts as much thought into the space around the object as into the object itself. Or as he commented in an interview in the Brooklyn Rail (see the “Interviews and Articles” section of the website) discussing the placement of this particular work, “I’m always very aware of the architecture around a work, what’s beyond just the rock or the sand. I want it to be in an environment that is conducive to it. I can tell, because I’ve been doing this for so long, if it’s going to work or not in that space.”
