Focusing on the placement of Moore’s work in civic and corporate locations in North America, this paper examines the ways in which for several decades his work was seemingly adaptable to a variety of civic and corporate ambitions in that country, and that this phenomenon was also reinforced by a network of influential members of the business, artistic and civic communities. Thus common ground between civic and commercial aspirations frequently underpinned Moore’s success in America. This paper focuses on the 1978 installation of Moore’s “Vertebrae:3 Piece” in front of I. M. Pei’s new City Hall in Dallas
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