There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.

I think that Walter De Maria's Lightning Field, Michael Heizer's City, and Charles Ross's work in Star Axis New Mexico , all three will last for a millennium.

People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.

I remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked the person sitting at the gallery desk where these works were - where in France they could be found. She looked at me in horror as if I'd asked something completely insane. She said, "Well, of course, these works don't actually exist. They're concepts."

I myself had lived in the San Fernando Valley many years ago, when it was a much wilder place, and we used to go walking in the wild areas. So that early experience had a lot of similarities for me to the places that Double Negative was being done.

I opened with Edward Kienholz's The Beanery, and that's such a controversial piece that I think that brought people right away. It was a room-size work that one walked into. It was a bar with Kienholz-type figures sitting and drinking and talking - all life-size characters in a life-size setting. The exhibition was covered in Time, Newsweek, and Life, so it had huge recognition right away.

There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.