Bordering on Art.

            <img srcset=" 1x, 2x, 3x" src="" border="0" title="" alt="" width="650" height="" /><em><p>The notion that the prototypes could qualify as conceptual art might seem somewhat far-fetched. They were designed to United States Customs and Border Protection specifications, built to withstand a 30-minute assault from sledgehammers to acetylene torches, and to be difficult to scale or tunnel beneath. Aesthetic considerations are largely secondary to brute strength, but, when viewed up close, the walls collectively have the undeniable majesty of minimalist sculpture.</p></em><br /><br /><p>Cadillac Ranch, Prada Marfa, The Gates from the Met and The Border Wall. As excessive, fantastical, dismal and maddening as that list may sound, it may be closer to reality than we would think. For artist, Christoph B&uuml;chel, the possibility that the expected role of the <a href="" rel="nofollow" >Border Wall proto-types</a> and their contentious implications should be classified as art is a interesting turn of events. The artist&rsquo;s hope is to have the prototypes declared a national monument under the Antiquities Act of 1906, <!--more--> protects naturally, culturally, or scientifically significant sites and for better or worse, we could agree that their cultural signification of the current state of America is undeniable. What do you think? Are they worth saving and what should their story be?&nbsp;</p>           

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