In the spring of 1990, I was asked by the Brooklyn Museum to create a work which would fill one of the museum's contemporary art galleries forthe exhibition, Working in Brooklyn. My ambition was to use the installation at the museum to address the precarious state of our sharedrelationship with the natural environment. The title for the work, The Horizon is Nothing More Than the Limit of Our Sight, was extractedfrom the funeral eulogy of my beloved mother-in-law and naturalist Shirley Wood, of Block Island, Rhode Island. This work which stands as a memorial to herspirit was inspired by her continuous efforts to bring parcels of land into conservancy on that island.

The installation consists of three elements assembled within the darkened room. At the entrance to the installation a video monitor stands before alabyrinth of steel barricades, tree branches and underbrush. Beyond these obstructions stands the third element: a luminous copper house-like structure imprintedwith the pattern of tree branches through which light is transmitted. The technology used in the construction of this element originated in the computer industry. A circuit board---a copper-coated laminate over fiberglass---was photographically processed and then acid-etched to reveal the underlying translucent surface inthe pattern of the tree branches. Six panels were then constructed into the house-like structure and illuminated from within to display the organic framework. More