What is art? Does the term describe a tangible object, experiential event, process, technique, medium, or creative skill? Does it involve attractive decoration, a pleasant layout and a good financial investment – ​​or can art provoke, be unattractive, make people uncomfortable and be fleeting? Today, art is subjective, open to interpretation, and spans the spectrum of visual, literary, dance, and musical humanities, often overlapping with each other. As such, Art and its practice can be all this and more. After World War II, modernist theories were waning, and a general dissatisfaction was building in the United States and other Westernized countries that eventually led to the cultural and social revolution of the 1960s. The period also parallels the increase in relative wealth and resulting mass consumption of goods, education, and cultural activities within all socioeconomic classes. Personal expression became acceptable and artistic practice exploded to include multiple fields of activity that Rosalind Krauss likens to “an extraordinary practice of elasticity.” Interest in ecology, performance, process, alternative materials, the loosening of social mores, and experimentation with altered states of reality contributed to the birth of what is now widely known as Postmodernism. Civil rights, the anti-war movement, the rise of feminism, and a left-of-center political movement created egalitarian entryways for many into various fields of study, including art. However, similar to the current state of Western civilization, not everyone appreciates an open multiplicity of voices that often differ in viewpoints from more confident and conservative ones. It is in this context that artists Robert Smithson and Richard Serra have brought to life... in the center of the paper... groups of bucolic, boring and safe benches and potted plants in the square, yet the scar where Tilted The arch that a time it stood stood as a reminder until the square was redesigned by Martha Schwartz in 1997. Interestingly, the photographic and video documentation, along with the hearing proceedings and written criticism of the site and its destruction are more influential than the sculpture itself . The Tilted Arch is arguably more powerful today than it was when it graced Federal Square because its ghost haunts the NEA, conservative politicians, citizens and artists. Ultimately, one could infer that the very idea, deliberations, and intentions behind both Tilted Arc and Spiral Jetty, are what is still alive despite the physical incarnations, or lack thereof. In true postmodernist form, this is just as relevant, if not more so, than the actual construction of the artwork.