Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was… — Robert Smithson Copy Share Image
A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to… — 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 Image
“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 Image
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time. — Robert Smithson Copy Share Image
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 Image
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 Image
Language should be an ever developing procedure and not an isolated occurrence. — Robert Smithson Copy Share Image
History is a facsimile of events held together by finally biographical information. — Robert Smithson Copy Share Image
Language thus becomes monumental because of the mutations of advertising — Robert Smithson Copy Share Image
“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 Image
Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art . — Robert Smithson Copy Share Image
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 Image
