I saw another copy of the same sculpture in the Museum of Modern Art in New York a few years ago, another of the 50 made. I've felt an affinity with Beuys' work ever since I became aware of it as a student and I'd travelled with some anticipation to the city with some students of my own knowing there was a large Beuys exhibition showing at the time. Unfortunately, the gallery itself, a huge edifice dedicated to the the display of 'modern art' seemed to sap all the energy from Beuys' work, in a sense sanitising it - stifling what I think much of what his work is about: latent potential and energy, whether it's the latent potential contained within a lump of fat to produce heat and energy, an unlit torch or Beuys' belief in the latent potential contained within anyone to create.
Within the gallery at Timespan, however, an identical piece of work seemed to speak directly about the Highland Clearances and the Highland diaspora of the 1800's in a powerful, elegant and timeless fashion. Perhaps it was strengthened by the sound of a heavy sea crashing against the harbour breakwater a few hundred yards away.
More likely it was simply made more powerful by its' very positioning: in the heart of one of the most 'cleared' areas on the East Coast.
A perfect argument for taking important and sometimes seemingly difficult Modern Art to venues and people who some folk would have you think wouldn't or can't appreciate its' meaning or beauty or intrigue.