At the Albuquerque Museum, Hispanic village arts and paintings of crucified saints filled the main gallery, the hallways lined with photographs of families more recently it was decreed by the Second Council of Nicaea in 787 that no church should be dedicated without the placing of relics. This necessitated the fabrication of a relic if no original article was to be had. The papal decree that relics had the power of reproducing themselves did much to relieve the situation, it also accounts for the multiplicity of the limbs of the same saint to be found taken. In midst of this too usual display, I sat in the auditorium with people greeting each other with kisses on both cheeks, and speaking French. Feeling awkward, but not out of place, as I often dream of Paris, I had come to hear a lecture on Alexander Calder.

A French art critic stepped up to the podium, hands twisting or stretching, neither completely living nor completely mechanical. Calder himself was accused of being a kind of upscale toymaker, a lightweight talent who experimented with movement through air.

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Calder's art hangs like the sun
like a work of art


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