Acquisition
1982

Dan Graham
Model for Pavilion/Sculpture for Argonne, 1978-1981
Wood, plexiglass, and mirrored plexiglass
96 x 96 x 96 in. (243.9 x 243.9 x 243.9 cm)
The Artist
currently on display at the
Art Institute of Chicago
- Adolph Gottlieb
- Doug Aitken
- Josef Albers
- Alexander Calder
- Ghada Amer
- Carl Andre
- Richard Artschwager
- Bill Viola
- Lee Bontecou
- Paul Caponigro
- Paul Chan
- Francis Chapin
- Charles Sheeler
- Christo
- Larry Clark
- Dan Flavin
- Dan Graham
- David Aronson
- Jimmie Durham
- Edwin Dickinson
- Nicole Eisenman
- Ellsworth Kelly
- General Idea
- George Mueller
- Ger van Elk
- Leon Albert Golub
- Gregorio Prestopino
- Philip Guston
- Hans Hofmann
- Gary Hume
- Irene Rice Pereira
- James Lechay
- Jim Dine
- Jasper Johns
- Joseph Raffael
- Donald Judd
- Jules Olitski
- Julian E. Levi
- June Leaf
- Alex Katz
- Guillermo Kuitca
- Kurt Seligmann
- Lorna Simpson
- Roberto Matta
- Joan Mitchell
- Matthew Monahan
- Robert Morris
- Osvaldo Louis Guglielmi
- Nam June Paik
- Ed Paschke
- Jackson Pollock
- Raoul Hague
- Reinhard Mucha
- Bridget Riley
- Doris Salcedo
- Julian Schnabel
- Sean Sean Scully
- Ben Shahn
- Paul Sharits
- Siah Armajani
- David Smith
- Bob Snyder
- Yutaka Sone
- Nancy Spero
- Hedda Sterne
- Rudolph Stingel
- Jessica Stockholder
- Tacita Dean
- Wolfgang Tillmans
- Rosemarie Trockel
- James Turrell
- Danh Vo
- Wayne Thiebaud
- Martin Wong
- Christopher Wool
The Acquisition
This is the maquette for a large sculpture built in 1982 on the grounds of Argonne National Laboratory in Argonne, Illinois, the first of Dan Graham’s outdoor pavilions. Graham divided the square base of the work diagonally with a transparent pane, creating two equal triangular spaces that are visually continuous but physically separate.
Viewers activate the work upon entering it, and become part of the piece by observing themselves and others in relation to its varying mirrored, transparent, or opaque surfaces. By complicating the perception of space, the sculpture draws attention to the separations among viewer, artwork, and environment. Installing the pavilion outdoors adds to its complexity through its continual reflection of variations in atmospheric conditions and light. First exhibited at the Renaissance Society at the University of Chicago in 1981, the pavilion has not been on view at the Art Institute since it was acquired in 1982. In 2002 the Art Institute began an extensive restoration of this important work. Conservators have returned the sculpture to its nearly original condition, preserving the somewhat unfinished quality Graham intended for the model.