mpletely distinct. Modernism was based on a certain disjointed sense of time and was a deliberate departure from the conventions of realism. Modernism used a number of complex new forms and styles that were to give new meaning to design, to present aspects of the world in a different way, and to create new relationships between elements in the landscape.
Christo presents a particular case of an artist whose form of expression is individual but who can be seen as part of larger movements outside the art world as well as some within, for Christo is an overtly political artist desirous of challenging certain accepted ideas in society. He has been the beneficiary of the student-worker revolt in France in May 1968 in which art representing the ancien rTgime was defaced as a political statement. Christo has used his art to make a political statement as well:
His art relies on the use of his subtle political insight, empowered by the sheer visual beauty of his projects, to engage the public en masse in a critical debate on values (Fineberg 350).
Christo consciously employs methods that enlist the participation of the viewer directly in a dialogue over the meaning of art and the meaning of political action. If he is not part of a movement, he creates his own movement by hi
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