Lincoln, MT), his largest newspaper piece. Writers have noted the cyclical "lifespan" of such works, from material origins in paper produced from trees, to art returned to the landscape, through biodegradation by fungi, mushrooms and molds into soil from which new trees grow. While the integration of Siegel's newspaper works blur boundaries between natural and constructed forms, his linear installations using rubber suggest organic, sometimes menacing intrusions into architectural settings. The indoor work Repose (1997, Atlanta) consisted of a dark mound of shredded tires atop a shale-like stack of juice cartons that twisted through a large exhibition space. For Carbon String (2001, Neuberger Museum of Art), he created a slender, playful 200-foot organic form that incongruously snaked its way through the otherwise austere architectural plaza of SUNY Purchase. The rubber tentacle or tree-root-like forms of Carbon (2013, Canberra, Australia)—Siegel's largest permanent public work—ooze from a soffit and across the façade of a multi-use building once home to Australia's Department of Climate Change. In other installations, Siegel created works in contrast to landscaped and idyllic sites that suggested both minimalist sculpture and functional objects such as collections of material en route to being recycled. For example, Bale (2001, University of Virginia) was a ten-foot, minimalist cube of crushed plastic bottles strapped together with rubber hose. Similar installations included Can Can (Bowling Green State University, 2002), a warped sphere of bound aluminum can discards; E-virus (2006, Stanford University), a cylinder formed from electronic waste; cubes of Grass Paper Glass (2006, Grounds For Sculpture), and Like a Buoy, like a Barrel (2019, Providence, RI), among others.Milkovits, Amanda. "Giant sculpture installed at the Innovation Center in downtown Providence was destroyed by fire," The Boston Globe, August 10, 2020. Retrieved August 12, 2021. Studio work (2000– ) In the 2000s, Siegel shifted his emphasis to studio work, producing abstract work inspired by evolutionary processes that ranged from intimate sculpture to ambitious multimedia installations. This work relates to his large-scale outdoor work in its continued use of postconsumer materials and evolving processes of incremental accumulation and craft that build to larger wholes. In 2001, he exhibited small wall and tabletop pieces compressing stone, discarded paper, shredded rubber, and tree bark and branches into forms suggesting nests, flora and rock formations. This work developed into “Wonderful Life” (2002–8), a chronological series of 52 wall pieces made with a limited range of materials that were partly inspired by