Chalk-Mirror Displacement

1. Estate of Robert Smithson. Sold, John Weber Gallery, New York, to the Art Institute of Chicago, 1987.

Recorded by Art Institute of Chicago.

• London, Institute of Contemporary Art, “When Attitudes Become Form,” September 26–October 27, 1969 (destroyed). A photograph of the installation was shown at the earlier venue, Kunstalle Bern, March 3–April 27, 1969.
• New York, John Weber Gallery, Robert Smithson: Sculpture 1968–69, Oct. 10–31, 1987, no cat. no.
• Oslo, Norway, National Museum of Contemporary Art, Robert Smithson: Retrospective • Works 1955-1973, Feb. 27–May 2, 1999, cat. 133; Stockholm, Modern Museum Stockholm, June 19–Sept. 12, 1999, Ishøj, Denmark, Arken Museum of Modern Art, Oct. 2, 1999–Jan. 16, 2000.
• Los Angeles, Museum of Contemporary Art, Robert Smithson, Sept. 12–Dec. 13, 2004, no cat. no., Dallas Museum of Art, Jan. 14–Apr. 3, 2005, New York, Whitney Museum of American Art, June 23–Oct. 16, 2005.
• Colchester, England, Firstsite, Camulodunum, Sept. 30, 2011–Jan. 30, 2012, cat. XLVI.
• Bottrop, Josef Albers Museum, Robert Smithson in Europe, Sept. 27, 2025-Feb. 22, 2026 (extended to Apr. 19, 2026), cat info forthcoming.

• Harald Szeemann, Live in Your Head: When Attitudes Become Form (Works – Concepts – Processes – Situations – Information), exh. cat. (Bern, Switzerland: Kunstalle Bern, 1969), n.p., cat. 96.
• Robert Hobbs, Robert Smithson: Sculpture (Ithaca and London: Cornell University Press, 1981), 5, 168-169, fig. 49 (ill.), 239, 257.
• Eugenie Tsai, “Robert Smithson,” Arts Magazine 62, 4 (December 1987), 94 (ill.).
• John Weber and Jeffrey Rian, Robert Smithson Sculpture 1968–69 (New York: John Weber Gallery, 1987), n.p. (ill.).
• Robert A. Sobieszek, Robert Smithson: Photo Works, exh. cat. (Los Angeles: Los Angeles County Museum of Art, 1993), 136 (color ill.), 160.
• Madeleine Grynsztejn and Dave Hickey, About Place: Recent Art of the Americas, exh. cat. (Chicago: Art Institute of Chicago, 1995), 39, fig. 29 (ill.).
• James N. Wood, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago/ Manchester, VT: Hudson Hills Press, 1996), 130, as Chalk Mirror Displacement, 1987 version of a 1969 work.
• Guglielmo Bargellesi-Severi, ed., Vicki Goldberg, and Carlo Frua, Robert Smithson: Slideworks (Milan: Carlo Frua, 1997), 108 (color ill.), 109, 193, as
• Per Bj. Boym, Annette Østerby, Tim Martin, Vibeke Petersen, Stian Grøgaard, and Maria Lind, Robert Smithson Retrospective: Works 1955-1973, exh. cat. (Oslo: National Museum of Contemporary Art, 1999), 279, as Exhibition copy.
• Jennifer L. Roberts, Mirror-Travels: Robert Smithson and History (New Haven and London: Yale University Press, 2004), 45-46, fig. 20, as Chalk-Mirror Displacement, 1987 version of a 1969 work.
• Eugenie Tsai, Cornelia Butler, and Thomas Crow, et. al, Robert Smithson, exh. cat. (Berkeley: University of California Press, 2004), 28, 166 (color ill.), 268, as Chalk-Mirror Displacement, 1969/2004, Exhibition copy.
• Charles Altieri and Rei Terada, “Maximal Minimalism,” Postmodern Culture (2005), n.p., fig. 1, http://muse.jhu.edu/journals/pmc/v015/15.2altieri.html.

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