"Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian"

In this quote, Christo, the renowned ecological artist who, alongside his partner Jeanne-Claude, became well-known for their large-scale, site-specific installations, offers a glance into the careful and substantial process behind their magnum opus, particularly the Wrapped Reichstag task. The Wrapped Reichstag was a temporary art setup where the Reichstag building in Berlin, Germany was covered in material. This task, like a lot of their works, needed comprehensive preparation and negotiation over a number of decades, spanning from 1971 to 1995. Christo highlights the complexity and period of their creative ventures, stressing that the process itself is considerable enough to warrant extensive paperwork.

By specifying, "there is a whole book about that, since each one of our tasks has its own book," Christo underscores the uniqueness and the tremendous scale of their projects, each requiring its own devoted volume to catch the intricacies included. This documentation serves not simply as a record, however as an integral part of the job itself, supplying insights into the logistical, administrative, and creative difficulties they experienced. The reference of each task having its own book shows the artists' dedication to openness and education regarding their work, providing the general public a deeper understanding of the seemingly ephemeral nature of their art.

Christo clarifies that "The book is not an art book, suggesting it's not written by an art historian," which suggests that the contents are most likely focused more on the usefulness and challenges of executing such an ambitious job, instead of an analysis from an art historical point of view. This further symbolizes their intent to demystify the creative procedure, focusing on the paperwork of real-world experiences, partnerships, and settlements over theoretical analyses. By doing so, Christo welcomes the audience to appreciate the crossway of art, politics, and public area in their jobs, motivating a diverse engagement with art that transcends standard artistic discourse.