"Alright. Dean's idea for ticket number twenty two. Let's see."He pulled a folded sheet of paper from his jacket pocket. "Oh, yes. His idea for number twenty-two is a broad steel beam that goes half a mile straight up in the air."
Mallory seemed skeptical. "What for?"
"To make you uncomfortable. You can't see the base support, it just stands there while you wait for it to fall down. It's meant to be threatening. Not his most original theme though. He's building on the work of a sculptor who once wrecked the side of a government building when the plaza sculpture fell down."
"A half mile beam. That's a rather ambitious project," said Charles, playing the good sport. "How are you planning to fund it? With drawings--like Christo?"
"Oh, no. Dean never intended to create the pieces. He just thought of them."
Mallory tilted her head to one side, and Charles wondered if she was listening for the audible snap of her mind, which could only be moments away.
"Well, of course. He just thought of them,"
Koozeman missed her sarcasm, as he took her hand and kissed it. "You do understand. I sell the artist's thoughts, his intentions. Very pure, isn't it?"
~Killing Critics
Koozeman was fortunate to have caught Mallory in an almost vanishingly rare unguarded moment. Her limited emotional range doesn't include sentiment. Her usual impulse towards any male taking such a liberty, no matter how gallant, would be to shoot him.
O'Connell really hates those plaza sculptures and the art power brokers on the Public Works Commission who inflict them on the public.
These days it isn't all that rare to come across similar skewerings of the contemporary fine arts business, but twenty-five years ago they weren't common in fiction of any kind. This is only one such skewering. My favorite of them all may be how the type of wine you choose at a gallery opening defines your personality. But the ultimate in conceptual art isn't just an idea, and it is not for the faint of heart.