34 staged as architectural interventions by creating and dividing space with large tapestries. The height of Amaral’s ambitions are seen in her large-scale works conceived at architec- tural size, such as Hojarasca limón (Dry Yellow Leaves) (1975, fig. 8) and El gran muro (The Great Wall) (1976, see p. 20, fig. 7), which measured six stories tall and was a commission for the Westin Peachtree Plaza hotel in Atlanta, Georgia. Composed of wool and horsehair swatches layered like a waterfall, these works have a visceral rawness; they act as a com- panion to the architecture while also transporting the viewer into Amaral’s handmade land- scape. When Amaral later reflected on these works, she spoke about her search for space as “being part of the pressure of the era—the physical exuberance of the times.” 13 The idea of art as intervention, whether in a structure or landscape, was also pursued by installation artists who sought to work collaboratively with a specific site, as seen in Daniel Buren’s “in situ” works or Christo and Jeanne-Claude’s Valley Curtain (1972), a massive installation of orange woven nylon fabric set between two Colorado mountain slopes (fig. 9). Figure 8 Hojarasca limón (Dry Yellow Leaves) , 1975, horsehair and wool, 275½×197 inches (700×500 cm).