Noah Lyon reports:
"Someone sent me these pics just this morning. I had given a couple of these stickers to one of Christo's installation crew members a few months ago. He was a German fellow that I happened to sit next to on a flight to Paris. I even suggested he give one to Christo. So maybe this was an inside job (?)Jeanne-Claude will find that crew member and rip his lungs out for spoiling the "feeling" and "their aesthetic." Besides, we don't want to think about war now. We want to think happy thoughts.
UPDATE: These photos give you a good sense of how oppressively low the nylon curtains are, so that when you're walking through them you feel like you're in a subway tunnel. (You also get a good view of the clunky, provisional "feet" they're standing on.) A New Yorker posting on Sally McKay's page waxes eloquent that the gates opened his eyes to the beauty of the park, but I maintain that beauty is always there. Quite the opposite of being outward-looking, the gates hem you in when you're walking through them--they momentarily frame your experience as something cold, mass-produced, and corporate, eclipsing the subtleties of the surrounding natural environment. I believe they are hegemonic and unconsciously hostile, manifesting the relentless desire for power of the rich but frustrated Jeanne-Claude and her dated, captive husband.
Thank god there is a contrary perspective to be found somewhere in the blogosphere.