In this talk, Dr. Woods reconsiders House of Dust (as a digital poem, and later translated as free-standing sculptures) in relation to the emergence of new uses of public art—especially the antinomies between what we can conceive of as a public and works made within publics—in the late 1960s and early 1970. It will look at artists who shared certain conceptual affinities and commitments of era—an interest in site-specificity, terrestrial and industrial materials, the transformation of public or private space—but for whom the land was not a site for marshaling huge resources to permanently mar or enhance a remote landscape, and who instead, made access and participation its primary goal.