My first visit to Lightning Field took about ten years. It began around 1970, when De Maria first mentioned the project to me, and ended in February 1980, with my on-the-spot inspection of the finished work, in New Mexico. In this span of time I have heard its "music", that is the images which accumulated in my mind through the talks and the descriptions of the realisation process, and which made me think of a variant of "Bed of Spikes" (1969) taken to the macroscale of "Mile Long Parallel Walls in the Desert" (1961–63). Time, music and images are still the specific framework of my experience. Dilation in time, while evidenciating analogy, in land art, between quantity of space and quantity of time, makes it possible to establish a sort of equivalence between the age of the work and the age of the Earth. Thus it questions both ephemeral operations on the land and mass-mediated information, in favour of permanence and of direct personal experience.
Lightning Field can be visited, weekly, by a small number of persons, no more than six, and every inspection must take at least 24 hours so as to allow participation in all of the natural incidents and incidences, from dawn to sunset.
Almost at the center of this flat surface covered only by bushes, following a sudden glare of sun light reflecting on a metal surface, I notice the presence of a metal pole. Watching carefully I discover more of them, until their number runs out of control.