Wednesday, June 27, 2007 the making of: Huge Props:

I'd like to say I felt that sensation again, but to be honest, the new sixth floor galleries are so high, and the beautiful skylight overhead was so open, Serra's once-overwhelming plates felt a bit quaint and conceptual, the idea of awe instead of awe itself. Or maybe it's just me. Maybe it's not so much the work, but my own spatial nostalgia, the kinaesthetic memory of it, that I'm loving so much, that thrill of paradigm-shifting discovery when you're young and stupid--and your paradigms are due for several hefty shifts. Maybe Richard Serra's works are not just shapers of space; after you've encountered them once, they become manipulators of time, too.