"The other work we started in 1992, it is called Over the River, Project for the Arkansas River in the state of Colorado, we haven't got the permit yet. And, we are working at both of those, trying to get the permit. Therefore, we do not know which one will be realized next"

Christo’s statement outlines the ongoing and often unpredictable process involved in executing large-scale environmental art installations. He refers specifically to “Over the River, Project for the Arkansas River in the state of Colorado,” a project begun in 1992, highlighting both the length and complexity of the journey from conception to realization for his works. The mention of not having obtained the necessary permit yet illustrates the critical role of bureaucracy, regulation, and public approval in projects that interact with public spaces and natural environments. For artists like Christo, whose works reshape landscapes temporarily and on a grand scale, negotiation with authorities and communities becomes an intrinsic part of the creative process.

He emphasizes that both “Over the River” and another unnamed project are at similar stages, awaiting permits, revealing a measured patience and acceptance of uncertainty. Rather than being able to control the timeline or choose which project will come to fruition first, Christo and his team are dependent on external decision makers: governmental bodies, local stakeholders, environmental regulators, and public sentiment. This dependence brings an element of unpredictability and suspense to his art practice; the very realization of any project hinges not just on creative vision or technical feasibility, but on complex interplay between art, law, and politics.

Additionally, his words reflect an artist’s resilience, persistence, and resolve to continue working despite obstacles. Christo’s process is iterative and administrative as much as it is creative. Ideas and proposals must be adapted, refined, and repeatedly defended. This landscape of uncertainty imbues his work with an evolving quality, the possibility that a project could remain an idea for years, or perhaps never materialize at all. The anticipation becomes part of the art’s narrative, heightening the significance of each realized installation as a unique convergence of vision, opportunity, and collective will, rather than a predictable or purely self-determined outcome.