As you know Vito first gained recognition as a New York City poet who edited the journal 0 TO 9 with Bernadette Mayer in the 60s. He quickly moved on to performance and video-based art, culminating with his 1971 installation Seedbed where Acconci whispered sweet nothings into a microphone and contently masturbated as people walked along a ramp above him. Over the years, a natural progression to larger installations and public architecture allowed him to keep the traditional art world at arm’s length just when it was accepting his previous work. His large-scale, architectural pieces like the Murinsel and still-in-development Building of Color Street of Swarms in Indianapolis evolve the conventional thoughts of public space with undulating walls and materials that look simultaneously futuristic and organic. Undoubtedly, Vito’s ideas about adapting our shared surroundings will still be being developed long past his lifetime.