the outdoor works to have an evolving, symbiotic relationship with their environments, including weathering and decomposition over long exhibition periods. Work and critical reception Writers distinguish Siegel's work by its combination of traditional sculptural aesthetics (abstraction, centrality of form and composition, craftsmanship) and unconventional means, such as repurposed indigenous materials, scientific concepts and evolving processes derived from nature, and strategies involving organic development, change and risk, and collaboration. His work raises contradictory notions of natural versus artificial, found versus constructed, growth and decay, and time as something ephemeral and enduring, intelligible and incomprehensible. Sculpture critic Patricia C. Phillips wrote, "There is a puzzling experience of dissonant beauty in these ungainly objects made of disposable, if not unsightly materials." Siegel fabricates his pieces through painstaking processes of accumulation that build to common forms such as boulders, vessels, geological formations, immense artifacts or topographical maps. Although not overtly political or message-oriented, they raise questions about consumption, waste and landscape, as well as sculptural practice itself in an eco-conscious world. Public works (1990– ) Siegel's site-specific public works fall into three broad categories: time-bound, outdoor newspaper structures; organic, linear works primarily made with shredded rubber; and large cubes or spheres of bound waste materials, often crushed plastic or aluminum containers. Siegel's newspaper works generally take monolithic, concentrated forms, such as cylinders, hives, walls or towers. They reference time through their layers of dated newsprint, methodical reiterative construction process, and gradual disintegration. Siegel's first fully realized such work was New Geology #2 (1992), a newspaper, stone and flora installation in the woods near his home in Milan, New York. It was undertaken as an experiment in change, decay and rebirth, and by 2000, had largely disappeared into a landscape of overgrown vegetation. Hood (Portland, 1993) was a thirteen-foot, cone-shaped sculpture topped by colorful flora, whose distinct layers were created by alternating placement of newspaper folds in or out. Siegel constructed Squeeze II (1998, Appalachian State University) from old school newspapers and sod, wedging an undulating structure between a grove of hemlocks, the organic curves creating a dialogue with the site's rolling hills. For Very Slow (1999, Art Omi), he constructed two newspaper towers in a stand of maple trees. Later newspaper works include "Scale" (2002, Abington Art Center), Stories of Katrina (2005, Montalvo Arts Center), Bridge 2 (2009, Arte Sella, Italy), Suncheon Weave (2016, Korea), and Hill and Valley (2015, Sculpture in the Wild,