The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye. — Robert Smithson Copy Share Image
A camera is wild in just about anybody's hands, therefore one must set limits. But cameras have a life of their own. Cameras care… — Robert Smithson Copy Share
“It’s like the end of the day where you feel nothing has been achieved and you’re in a hurry to get the day over… — Robert Smithson Copy Share
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time. — Robert Smithson Copy Share
Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future — Robert Smithson Copy Share
History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy — Robert Smithson Copy Share
Language should be an ever developing procedure and not an isolated occurrence. — Robert Smithson Copy Share
History is a facsimile of events held together by finally biographical information. — Robert Smithson Copy Share
Language thus becomes monumental because of the mutations of advertising — Robert Smithson Copy Share
“Language operates between literal and metaphorical signification. The power of a word lies in the very inadequacy of the context it is placed, in… — Robert Smithson Copy Share
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art . — Robert Smithson Copy Share
From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline. — Robert Smithson Copy Share
The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness. — Robert Smithson Copy Share
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the… — Robert Smithson Copy Share
