I have been thinking about an art yard I would like to build. It would be sort of a big hole in the ground. Actually it wouldn’t be a hole to begin with. That would have to be dug. The digging of the hole would be part of the art. Luxurious stands would be made for the art lovers and spectators to sit in.

They would come to the making of the yard dressed in tuxedos and clothes which would make them aware of the significance of the event they would see. Then in front of the stand of people a wonderful parade of steamshovels and bulldozers will pass. Pretty soon the steamshovels would start to dig. And small explosions would go off. What wonderful art will be produced. Inexperienced people like La Monte Young will run the steamshovels. From here on out what goes on can’t easily be said. (It is hard to explain art.) As the yard gets deeper and its significance grows, people will run into the yard, grab shovels, do their part, dodge explosions. This might be considered the first meaningful dance. People will yell “Get that bulldozer away from my child.” Bulldozers will be making wonderful pushes of dirt all around the yard. Sounds, words, music, poetry. (Am I too specific? Optimistic?) …

— Walter de Maria, “Art Yard,” An Anthology of Chance Operations, 1963; excerpted in SIX YEARS: THE DEMATERIALIZATION OF THE ART OBJECT FROM 1966 TO 1972