Attitudes details trips, studio visits, and installation. The show became a dialog of how works could either assume material form or remain immaterial, documenting an important revelatory concept in the history of art. This show was a moment of intensity and freedom in which a work could be produced or imagined, according to Lawrence Weiner. 69 Artists, Europeans and Americans controlled the Kunsthalle. For example, Robert Barry irradiated the roof; Richard Long did a walk in the mountains; Mario Merz made among his first igloos; Michael Heizer "opened" the sidewalk; Walter de Maria produced his telephone piece; Richard Serra showed lead sculptures, the belt piece, and splash piece; Weiner took a square meter out of the wall; Beuys made a grease sculpture. The Kunsthalle Bern became a laboratory of exhibiting "organized chaos". Following When Attitudes Become Form and the following exhibition Friends and their Friends a scandal was provoked in Bern. Szeemann believed to be showing artwork contrary to the opinions of critics and the public. The city government and parliament eventually became involved in the issue. It was decided that Szeemann's directorship was "destructive to humankind". As well the exhibition committee, largely composed of local artists, decided they would dictate the programming and rejected shows proposed by Szeeman they had previously agreed to, including the solo show of Beuys. Thereafter Szeemann, tired of this open war, decided to resign and become a freelance curator and operated under his newly founded Agency for Spiritual Guest Work. 1997 Lyon Biennial L'autre (the Other) Originating in 1991, the city of Lyon's Musee d'art Contemporain co-directors, Thierry Raspail and Thierry Prat, has hosted a biennial art exhibition, which generally has garnered little attention to international audiences. Each biennial has a specific theme and guest curator who determines the components of the exhibition. The choice for the Fourth Biennial, in 1997, was Harald Szeemann. The co-directors chosen theme for the exhibition was derived from the post-structuralist term L'autre, the other. L'autre was held at L'Halle Tony Garnier in the outskirts of Lyon. The structure from the 1920s is an example of extraordinary engineering of the era. The large scale of the space made it suitable for showing large-scale works such as by Richard Serra or Serge Spitzer, which would otherwise be excluded from such exhibitions in conventional spaces. Szeemann's choices were eclectic but consistently focused on the subject of contemporary artists' personal mythologies. Large-scale