What he and Jeanne-Claude, his wife and collaborator, achieved was so different from the work of anyone else, and on such a huge scale—seventy-five hundred saffron-colored nylon “gates,” in Central Park; the Reichstag, in Berlin, and the Pont Neuf, in Paris, transformed by their cloth wrappings into monumental and sensuous sculptures—that it’s hard to believe it was also ephemeral. Each spectacle drew huge crowds for two weeks and then vanished forever, without a trace. – The New Yorker