The next part of the article by Miwon Kwon looks at how site-specific art of the 1960s and 1970s went through something of a revival in the 1990s with the reappearance of several high-profile exhibitions from that era which may at the time have been seen as impossible to reproduce.
The chance to review these works was seen as a chance to reconsider their historical importance.
Is there a paradox here? How can you recreate in a different location / different time something that was designed to be bounded to its site?
In some cases, the artists themselves objected to this reproduction of their original artwork. Some denounced the progress as forgery, despite the fact that the reproductions seemed identical to the originals. This exposed a crisis concerning the authorship of site specific artworks.
So site specific art easily becomes a nomadic process. What next?