To the Editors:
I recently read Hilton Kramer’s article, “Richard Serra at MOMA,” in the May 1986 issue of The New Criterion. I was pleased to learn that Mr. Kramer was impressed by Richard Serra’s work, but I would like to bring to your attention an inaccuracy in the article. The Museum of Modern Art did not acquire, as stated, Modern Garden Arc, though it was among the four or five candidates for acquisition. The work we actually acquired was Circuit, II. This piece, which was installed in its own room in the galleries, consists of four steel plates, each 10′ x 20′, which emerge diagonally from the four corners.

Laura Rosenstock
Department of Painting and Sculpture
The Museum of Modern Art
New York City

To the Editors:
I have rarely written a letter to the editor of a periodical; however, Hilton Kramer’s review of Richard Serra’s show at MOMAimpels me to do so. He emphasizes several characteristics of Serra’s work on aesthetic and related psychological grounds. To quote: “the specific space in which it is erected must henceforth be regarded not merely as the circumstantial conditions of the work’s realization but as essential defining aspects of its artistic existence.” Further, Mr. Kramer describes “an element of dread or what might even be called fear” which he finds to be a new experience for his viewing of sculpture. He goes on to say that “these sculptures occupy the museum’s spaces with an authority