Michael Heizer: I saw a giant projection on the Playboy Club on the Sunset Strip a couple years later, some big bunny up on the wall.
Richard Serra: There was an aspect of unpretentious, indigenous American poetry that was difficult to deny, and it spoke so directly that I was moved by the people who were making it, and by the images that were brought forth.
Heizer: A lot of bad things happened after that.
Serra: The same week, I saw Warhol's Chelsea Girls.
Heizer: You’re forgetting something.
•••
Serra: That means that if there are advertisements, there can be anti-advertisements: equal time.
Heizer: No clay at all, just pure washed rock.
Serra: They knocked over the projector.
Heizer: They thought we were looking for oil and digging something out of the ground, which belongs to Algeria and not to us.
Serra: That’s absolutely true.
•••
Heizer: There is no beginning.
Serra: No. It’s from a fixed viewpoint.
Heizer: Back then, it wasn’t so fun, was it?
Serra: Maybe that was a little later, but I think it was in the same year. Later on a bridge becomes more than simply a steel artifact spanning two points; it begins to assume symbolic connotations.
Heizer: You spend the next 50 years broke.