Abstract The artist Robert Smithson attempted to develop a form of aesthetic resistance to the technologies of power that loom over the contemporary world. Using the interpretive lens of an emblematic work of art, this article considers the architecture of that resistance. To achieve this, we will walk with Smithson through the ‘Monuments of Passaic’ as the artist brings together mundane descriptions of the everyday with eclectic quotation, photography, and fantastic forms of speculation. For him, this walk through the marginal spaces of his hometown (his ‘Crystal Land’) represented the unfolding images, rhythms, and narratives of a single, sunny autumn day in New Jersey (Saturday, 30 September 1967), but for us, it might define the topographical structure—the spatial architecture—of his entire artistic œuvre.

中文翻译：

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罗伯特·史密森（Robert Smithson）：运动的修辞

摘要艺术家罗伯特·史密森（Robert Smithson）试图发展一种形式的审美抵制，这种审美抵制在当代世界中出现的力量技术。本文使用象征性艺术作品的解释镜头来考虑这种抵抗的架构。为了实现这一目标，我们将与史密森一起走过“ Passaic的纪念碑”，艺术家将折衷的语录，摄影和奇妙的投机形式结合在一起，将平凡的日常描写融合在一起。对他来说，走过他家乡（他的“水晶土地”）的边缘空间代表了新泽西州一个晴朗的秋日（1967年9月30日，星期六）展现的图像，节奏和叙事，但是对我们来说，它可能会定义他整个艺术作品的地形结构-空间结构。