We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.

People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.

We are probably the only artists in the world who have a 2,000-page book on a work of art that doesn't exist. But in this way, these projects reveal their identity through this whole process. When I'm starting, I only have the slightest idea of how the work of art will exist.

Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.

Often the art in New York is related to the buildings, to grandiose things.