We hope this book can begin to formulate an answer - not with a single, definitive response, but with a dialogue that begins to explore underlying issues and attempts to define them. In doing so, we are attempting to foster a deeper understanding of public art programs and of the diverse needs and interests of those most directly affected by them - the government, the public and the artist.

This project was borne out of the idealism and enthusiasm of a group of graduate students at New York University. These students immersed themselves in the events surrounding three days of hearings held by the General Services Administration on March 6-8, 1985 in Manhattan. The purpose was to determine whether the sculpture created by artist Richard Serra for New York City's Federal Plaza should be removed. A five-member panel was selected and chaired by GSA Regional Director William Diamond to weigh the testimony. In all, 181 people made statements. 118 spoke in favor of retaining the sculpture at its site, and 63 urged its removal. The final decision shocked the art world; the panel determined that the sculpture should be relocated.

. . . . While every effort has been made to preserve the character of the original spoken testimony, the statements have been edited for clarity and, in some instances, they have been abbreviated in order to focus upon the key arguments being made.

Added to the selected testimony, we have attempted to gain some insight into the core issues of the case and what the broad implications might be for other public art programs across the country. Three essays were commissioned, each designed to explore a specific facet of the case: Dale McConathy has assessed the artistic issues inherent in public art; Margaret Wyszomirski and Judith Balfe have examined issues of public policy; and attorney Barbara Hoffman has analyzed the legal issues at stake.

The intent of this book is not to trumpet one viewpoint over another, although the testimony presented admittedly weighs substantially in favor of the artist's position. Rather, with these three stimulating essays, combined with the GSA's full decision, selected articles, a chronology of events, and, of course, the selected testimony, the intent is to create what we hope will be a foundation of thought which provokes, stimulates and contributes to the understanding of these difficult issues to ensure the future growth and maturity of our public art programs. (p. ix-x)

CONTENTS

• Foreword by Robert Porter.
• Three perspectives [see chapters analyzed].
• Chronology of events.
• Selected testimony.
• The media's perception.
• The decision.
• Epilogue by Barbara Hoffman.
• Selected bibliography.
• Index of selected testimony.

We hope this book can begin to formulate an answer - not with a single, definitive response, but with a dialogue that begins to explore underlying issues and attempts to define them. In doing so, we are attempting to foster a deeper understanding of public art programs and of the diverse needs and interests of those most directly affected by them - the government, the public and the artist.