In 1964, when we first arrived in New York City, I remember vividly seeing the skyline of Manhattan, and our first proposal of 1964 was to wrap two lower Manhattan buildings. We never got permission.
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Therefore we have to go over the fact that all human beings are afraid by what is new. It is our work to convince them that they will enjoy it, and even if they don't, to allow us just for 14 days to create that work of art.
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Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.
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Germany is an economic giant but a political midget, and with the end of the Cold War she has started to muscle her presence throughout Europe and the world.
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Now, there is no way to say how long some projects take, that's our principle.
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People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.
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I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
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And the most unusual and surrealistic place in New York City is Central Park.
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You see, we are not machines and we do not have lots of ideas in a drawer.