(1979), address the idea of unseen or abstracted distance. Vertical Earth Kilometer is a one-kilometer-long brass rod, two inches in diameter, drilled into Friedrichsplatz Park in central Kassel, Germany. The rod's circular top, flush to the earth's surface, is framed by a two-meter square plate of red sandstone. In 1979, De Maria meticulously arranged five hundred brass rods for The Broken Kilometer, a permanent installation at 393 West Broadway in New York. In contrast to the hard metal of both Kilometer pieces, the third of these urban works, The New York Earth Room (1977), is a 3,600-square-foot room filled to a depth of 22 inches with 250 cubic yards of earth (the New York work is a permanent iteration of Munich Earth Room, 1968, a temporary installation in Munich). Also in 1977, the artist recreated the work at the Heiner Friedrich Gallery in New York, which was then permanently reinstalled in 1980 at 141 Wooster Street, New York. The Broken Kilometer is also part of De Maria's series of monumental sculptures using a horizontal format, which feature groupings of elements ordered according to precise calculations. This series includes 360°/I-Ching (1981), A Computer Which Will Solve Every Problem in the World/3-12 Polygon (1984), 13, 14, 15 Meter Rows (1985), Apollo's Ecstasy (1990), and The 2000 Sculpture (1992). In 1989 De Maria completed a sphere of polished granite for the Assemblée Nationale in Paris, followed in 2000 and 2004 by works for two museums on Naoshima Island in Japan, the Naoshima Contemporary Art Museum and the Chichu Art Museum. A comparable, 25-ton sculpture entitled Large Red Sphere (2002) was installed in the Türkentor, Munich, in 2010. One Sun/34 Moons (2002), conceived by the artist in collaboration with architect Steven Holl, was opened 2007 at the Nelson-Atkins Museum of Art, Kansas City. In 2010, The 2000 Sculpture (1992) was the first work of art to inaugurate the Resnick Pavilion at the Los Angeles County Museum of Art. Exhibitions De Maria and Robert Whitman opened the 9 Great Jones Street gallery in New York in 1963; the same year, De Maria's first solo show of sculpture was presented there. He had his first solo exhibition in a commercial gallery in 1965, at the Paula Johnson Gallery on New York's Upper East Side. (Its owner soon became better known with the Paula Cooper Gallery) De Maria avoided participating in museum shows when he could, preferring