Michael Kimmelman, an art critic for the New York Times, reviews Richard Serra’s permanent installation in the Guggenheim, emphasizing that the installation project as legitimate evidence of Serra’s turning point in his artistic career. He believes that Serra’s work "rejuvenates and pushes abstraction to a fresh level”, contrasting his negative analysis of the artist’s work prior to the installation. He’d previously scrutinized Serra’s sculptures (most notably his work from the late 80s, like the “Tilted Arc”), as menacing, also describing the artist himself as an “angry man” prior to now.
Kimmelman, alongside other art critics, now describes Serra’s work “compelling” and even “uplifting”. What was formally considered downright hostile has morphed into extraordinary art, somehow becoming stupendously popular amongst mothers and their children strolling by. The eight sculptures featured at Guggenheim emphasizes on how it makes use of the space in which it is dwells under, forcing passerby’s to meander in particular directions here and there. As what was said in the article, the important outcome to get from the installations is the experience itself over time, “the walk into and around the room”.
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