Meaning: The quote is from Richard Serra, a renowned American sculptor known for his large-scale, site-specific works. In this quote, Serra is comparing two of his exhibition formats: "Out of Action" and "honeycomb." Serra's perspective is valuable for understanding the considerations and challenges involved in presenting sculptural work in a gallery or museum setting.

"Out of Action" was an exhibition held at the Museum of Contemporary Art in Los Angeles in 1989. The exhibition featured a collection of Serra's works, including drawings, sculptures, and installations. Serra's comment suggests that he found the format of "Out of Action" to be more conducive to the presentation of his work as a whole. He seems to appreciate the cohesive and comprehensive nature of the exhibition as a catalog of his artistic output.

On the other hand, the "honeycomb" format, which Serra contrasts with "Out of Action," likely refers to an exhibition layout that featured individual compartments or separate spaces for each artwork. Serra's criticism of this format implies that he felt it disrupted the flow and coherence of the overall exhibition experience. Instead of presenting his work as a unified whole, the compartmentalized layout may have fragmented the viewing experience, making it difficult for viewers to engage with the works in a meaningful way.

It's important to consider the context of Serra's practice when interpreting his comments. Serra is known for creating large-scale, site-specific sculptures that often interact with the surrounding environment and architecture. His works are immersive and experiential, designed to elicit physical and emotional responses from viewers. Given this focus on the relationship between the viewer, the artwork, and the space it occupies, Serra's preference for the "Out of Action" format makes sense.

In the "Out of Action" format, Serra likely had more control over the presentation of his works as a cohesive body of art. This allowed for a more immersive and holistic experience for the audience, aligning with the intentions behind his sculptural practice. By contrast, the compartmentalized "honeycomb" format may have detracted from the immersive and interconnected experience that Serra strives to create with his sculptures.

Serra's comments also shed light on the challenges of curating and presenting sculptural works in a gallery or museum setting. The spatial and contextual considerations for exhibiting large-scale sculptures are crucial to the overall impact and reception of the artwork. Serra's preference for the "Out of Action" format reflects the importance of considering the overall exhibition design as a means of enhancing the viewer's experience and understanding of the art.

In conclusion, Richard Serra's quote provides valuable insight into the considerations and challenges involved in presenting sculptural works in an exhibition setting. His preference for the "Out of Action" format over the "honeycomb" format underscores the importance of cohesive and immersive exhibition design in conveying the intended impact and experience of his sculptural practice. By understanding Serra's perspective, curators and viewers alike can gain a deeper appreciation for the nuances of presenting large-scale sculptural works in a gallery or museum context.