Again, see the full publication about the work including research into the specific context of Lima here: http://francisalys.com/ebooks/FrancisAlys_WhenFaithMovesMountains/#page=40

To learn more about Spiral Jetty and to see a photo of the work, visit this website: https://www.diaart.org/visit/visit-our-locations-sites/robert-smithson-spiral-jetty

You can also video of Spiral Jetty here: https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/smithson-jetty

a noble and generous act

This is a large art exhibition with works from both Peruvian and Latin American artists. "When Faith Moves Mountains" was made as part of the next Biennale in 2002.

Read this BBC news article for a quick overview of Fujimori's dictatorship and subsequent time in prison: https://www.bbc.com/news/world-latin-america-16097439

To learn more about the dictatorship, read this article by John Crabtree published in the Bulletin of Latin American Research: https://www.jstor.org/stable/3339730?seq=1#metadata_info_tab_contents

To read the full publication about the work which traces the entire process from the research stages to its completion and includes interviews with Alÿs, testimonies from the participants, photos, and more, visit this link: http://francisalys.com/ebooks/FrancisAlys_WhenFaithMovesMountains/#page=21

You can visit Alÿs' website to watch videos from his other works and his publications: https://francisalys.com/ To watch an interview with the artist about his other works in Gibraltar and Cuba, visit this link: https://www.youtube.com/watch?v=uv469amkCCo

Is there a constant cycle between private and public spaces? Is a space ever truly "private" or truly "public" but rather leans towards one categorization until time tips the balance?

What does the inclusion of the American flag add to this public space? What would the space be like without the flag? It seems that the flag can turn a neutral space into a more politically charged space.

Acconci continues to provide the example of the plaza as a public space, which leads me to question how public space differs from nation to nation. For example, public plazas are much more prevalent in European cities than American cities, where there seem to be comparatively fewer public spaces. I wonder how this affects city cultures, as more public spaces allow more opportunities to interact with neighbors and friends outside the confines of the private home.

I question this rather elevated and praising discussion of the role of proper nouns, names and symbols on the city. Recently, many cities have started questioning their decision to name streets, plazas, etc. after figures (such as dictators, Confederate generals, etc.) who stand for ideas that a city should not promote and perpetuate.

This comparison is interesting, and leads me to think about how both the act of reading and wandering in a city follow a certain trajectory (either plot or a literally trajectory), both offer surprise twists and turns, and both force the reader/walker to relinquish some control to either the author of the book or the cityscape.

Seeing the totality of a cityscape from afar, the viewer is physically and mentally removed from the trials of reality. Such removal from the everyday, while brief, is a pleasurable experience.

Reminds me of conceptual art as fully carrying out an absurd idea.

the public sphere?

Is this a false reality, as the environment is constructed and created?

This has strong echos of communist thought. How is it that the landscape of a society could contribute to societal structures such as communism?

It seems to me that part of the reason why this monument was not as successful as the Liberty Square anti-monument is that rather than being a cohesive work by a collective group it was fragmented and individual. Additionally, unlike the Liberty Square anti-monument, the public cannot participate in Corvin Passage monuments beyond reading the plaques, making the monument less engaging and community-oriented.