scale if not its actual form. One thinks of Aristophanes'
goddesses, patrons of philosophers, thinkers, clothed
as Clouds, angels, descending from the firmament to
comment on the cleverness of their author's play.
Conversely, are these angels of creative intent, existent in
the most functional environment, a factory enclosure? Is
Argentine artist Daniel Gonzalez' work in the "courtyard"
of the factory a manifestation of grotesque consumerism?
Or, is his work and Galtarossa's work "making art a
question of life" conveyed in "the language of kitsch,
which, being excess, is also an excess of beauty"? If such
an artistic installation occurred in the Vatican, might it
trigger in viewers an understanding that their lives, their
HYLAND
