Conservation A Priority." Selected works and projects Beauty (1993) Nadine Wojcik, after attending the In real life exhibition in 2019, dubbed Beauty (1993) a "simple yet powerful water installation that evokes a rainbow via spotlights.” Anna Souter called the work "a reminder of the intensely fragile beauty of the natural world and its elements. [...] it’s simply and superbly beautiful". Ventilator pieces Early works by Olafur consist of oscillating electric fans hanging from the ceiling. Ventilator (1997) swings back and forth and around, rotating on its axis. Quadrible light ventilator mobile (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four fans blowing air around the exhibition room and scanning it with the light cone. In a 2008 review of the Take Your Time retrospective (at the Museum of Modern Art), Peter Schjeldahl dubbed Ventilator "a witty finesse of the MOMA atrium’s space-splurging grandiosity" The weather project The weather project was installed at the London's Tate Modern in 2003 as part of the popular Unilever series. The installation filled the open space of the gallery's Turbine Hall. Olafur used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a semicircular disc (reflected by the ceiling mirror to appear circular) made up of hundreds of monochromatic lamps which radiated yellow light. The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light symbolizing the sun. Many visitors responded to this exhibition by lying on their backs and waving their hands and legs. Art critic Brian O'Doherty described this as viewers "intoxicated with their own narcissism as they ponder themselves elevated into the sky." The Weather Project was highly successful. Open for six months, the work reportedly attracted two million visitors, many of whom were repeat visitors. O'Doherty was positive about the piece when talking to Frieze magazine in 2003, saying that it was "the first time I've seen the enormously dismal space—like a coffin for a giant—socialized in an effective way." The Telegraph's Richard Dorment praised its "beauty and power". It remains his most famous work and ranked 11th in a poll by The Guardian of the best art since 2000, with Jonathan Jones describing Olafur as "one of the century’s most significant artists." Light installations Olafur has been developing various experiments with