At the end of the late 1970s, art theorist and critic Rosalind Krauss had written a seminal text entitled “Sculpture in the Expanded Field,” in an attempt to both locate and analyze vanguard sculptural practices of the time such as the work of Richard Serra, Robert Smithson, Mary Miss, and Donald Judd whose practices crossed outside of the limits of traditional sculpture and entered into the realms of architecture and landscape through the production of works that she classified as site constructions, marked sites, earthworks and axiomatic structures. Over the past three decades, the boundaries between art and architecture have continued to blur, giving rise to a series of works known as installations whose conceptual, spatial and material trajectories have generated a new and expanding network of relations between the domains of architecture, interiors, sculpture and landscape.
Following the legacy of Rosalind Krauss, EXPANDED FIELD: Installation Architecture Beyond Art by Ila Berman and Douglas Burnham explores the realm of art and architecture across a broad terrain of installation practices, revealing a critical territory that, despite its exuberant proliferation, has been historically defined as a negativity: the progeny of that which is both not-architecture and not-art. Within this book, a wide range of art and architectural works are positioned and mapped as constellations within a newly expanded field suspended between Architecture, Interiors, Sculpture, and Landscape. These four terms are the initial reference points used to elaborate a more extensive taxonomical framework defining twelve distinct territories where the analytical drawings and photographic indexes of seventy-five installation projects are situated.