Leo Steinberg, ‘From Other Criteria’, Published in 1972 relates to modernist work to changed continuum. The text explores and underlines the changes in viewing art in a typical indoor art gallery environment. The picture plan, referring to the physical surface of a painting, is seen as horizontal, rather than placing the work in an upright positing (vertical situation), this linking the work closer to the ‘human posture’. Although the text contains artist references throughout, which, as described, have influenced this particular movement in art, Steinberg’s text main focus lies upon the quotes of Jasper John, and the work of Robert Rauschenberg. Rauschenberg’s work is described as,

“Pictorial surface that would let the world in again”, “Abstract Expressionism” and referenced as, “The man who in his century has invented the most since Picasso”.

Richard Serra, ‘From the Yale Lecture’, written in 1990 focuses strongly upon the use, definitive and differences of site-specific and site-orientated. It also includes his opinions about modernist sculpture, and how the work is made to be site-orientated, which are built upon environmental components. His describes the work as,

“Giving the illusion of being autonomous from their surroundings”.

Serra talks about his interest in site-specific sculpture, and his idea that site-specific sculpture is a concept that can be verified within each case. The sculpture itself is its own evidence/backup. He describes it as “nothing to do with opinion or belief”.He suggests that there is something unique about the different type of sculptures made within the outside environment compared to sculptures made within the studio. With this he firmly states that a piece made within a studio cannot be made to be adjusted to a certain site.Serra then finishes the text by outlining his opinion on how corporate-funded sculptures make the artists “puppet creators”.

After looking back and summarizing the two texts it clear that both explore some major changes within art movement. They both cover the use of the way both artist and the public perceive the work within a gallery and the way in which we view public sculptures. Serra explores the use of out outdoor sculpture to move away from the ‘norm’, meaning a flatbed picture frame, spoken about by Steinberg. Similarly they both look into expanding artwork, bringing creations closer to life by making them in the third-dimension. However still linking them towards the way a viewer to perceive a painting. An example from Steinberg’s text is Rauschenberg’s submission of a canvas of square grass that is hung, vertically, from a wall. The square suggests a frame and the grass representing nature. This piece shows movement because it’s displayed in an unpopular way.

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