43 Proposals for a Coat Check Room, 2005

Poposal 1.  The museum is a laboratory. It is here where artifacts are segregated from the context of the world and placed in controlled and specific ways to set up relationships to each other. Clothing is a key to the success of a useful museum going experience.

I propose that the people disrobe as they enter the museum, deposit their street clothes in lockers that line the walls of the vestibule. They would then enter the existing coat check room retrofitted with a fairly inexpensive modular clean room. Terra Universal specializes in designing and manufacturing Modular Clean Rooms which are free standing steel structures that require no external ceiling supports, unlike other clean rooms on the market. It is here where the visitor would dress in a neutral gray cotton gown manufactured in a light breathable material. The wearer would remain cool and comfortable and the gray would least likely interfere and clash with the colorful paintings and sculptures of the museum.

Proposal 2.  Museums encourage visitors to re discover the world. The antique draws us toward the contemporary; we see similarities between past and present. The far away encloses; we witness the neighborliness of the distant. The museum is a switch, a trigger, and a transformer. Everyday objects are protected and isolated in mind made displays. The museum switches us, triggers us and transforms us. We enter and the ordinary is reconstructed into Duchamp “Readymades”.

The seemingly typical self service coat room is entered. A closet bar, empty wood hangers, several coats, back packs on a shelf, and a few forgotten umbrellas.  Hung amongst the many items of ordinary clothing are oak framed glass vitrines. A few contain vintage antique and historically significant clothing others contain experimental fashions, and a few high style couture. 

Betsey Swenson’s strawberry ice cream stained lime green parka is hung next to a Jean Paul Gaultier dinner jacket.  Robert Mendon’s missing belted, collar worn, trench coat is displayed along side the lunar landed flight suit of Neil Armstrong.  Victoria Welch’s suede button waistcoat in the style of Givenchy is hung next to a spring dress by Givenchy.  A safari jacket is hung next to a Takuo Itoh kimono.

Proposal 3.  Duchamp’s bottle rack ceased to be a bottle rack. I want to return the bottle rack to its proper function.  I want to replace the out of true bicycle wheel on my 10 speed with Duchamp’s wheel.

The coat check room at Smith College Museum of Art is an ideal venue for this to occur.  SCMA has over 250,000 items in its collection. A very small percentage of the collection is currently on display.

I therefore propose that artifacts from the collection double duty. In other words a Donald Judd box used to contain the back packs of children who visit the museum on school trips.  The Lyonel Feininger painting if shrink-wrapped could be used to screen the gift shop storage. The white marble Jean Arp torso is washable and very durable and could wear a visitor’s jacket. Hokusai’s 1825 color wood cut if framed would make a beautiful locker door. Sol LeWitt’s open cube structure if protected with a product known as B72 (according to a friend who is an art conservator) would make a perfect umbrella stand. There are of course untapped possibilities within the decorative arts and furniture collection for clothing storage items to be used in the Smith Coat Check Room.

Proposal 4.    A detail-less white 3’ x 3’ x 6’ feet tall closet with an open door is seen as one passes by the museum located just outside the entrance to the museum.  The interior is finished in a pin stripped men’s suit material. The closet bar and shelf above is upholstered in the same fabric. A men’s pin stripe coat is hung on a hanger sheathed in the same material.  A hat of the same fabric rests on the shelf above the closet bar and a pair of shoes fabricated from the same pin stripe material sits on the floor of the closet. Plexiglas protects the interior from entry as if this is a period room in a museum of applied arts.

Additional white volumes of same size appear to be oozing out of the opening leading toward the coat closet.  The closet that overlaps the threshold of the existing coat room has a second door opposite and one can pass through this entry/closet sheathed in yellow raincoat material. One yellow raincoat hangs from a partial bar.

Once inside there is just enough space to pass by 12 more of these closets that have been squeezed into the existing space.  Because each closet is not too heavy they can be moved into different positions within the space to create different types of passages, solids, voids and arrangements.   One closet passes through the wall of the vestibule contains brochures with its interior finished in cordovan colored leather. A pair of cordovan shoes rests on the floor of this brochure closet. The brochures are contained in a rack hung from a leather sheathed closet bar.  Another closet inside the lobby is an upholstered corduroy two person couch. Museum storage is hidden behind some of the closets; some closets are turned backward to be used by museum staff.

Proposal 5.   This proposal suggests that Smith enter into a partnership with Gap Clothing.  Gap operates 3,800 stores and has experience in the art of clothes handling. Gap Museum would occupy the more than adequate space of the current coat check and would solve your coat check needs, staff storage needs, would be cost effective and museologically sound.

Gap clothing store appeals to people of all types, economic brackets, tastes, and artistic persuasions.  Gap Museum would pay Smith 10% of their profits and be required to leave 10% of the store fixtures empty for visitor’s coats, umbrellas and backpacks.

One can easily see the many benefits of this cultural and financial collaboration. Having a street façade location (the frosted glass replaced with clear), GapMuseum would draw many unsuspecting visitors into the museum. In addition the many works in current storage (as mentioned in Proposal 3) could travel to and be exhibited within the various Gap stores throughout the world. 

I understand that the Guggenheim Museum has been on the front line forging commercial bonds with ground breaking commercial ventures and exhibitions like Giorgio Armani and The Art of the Motorcycle sponsored by BMW but the Gap Smith collaboration would represent a very brave and new approach.   

Proposal 6.  I am sure that there are many clothing stores that will be going out of business in Massachusetts in the not to distant future.   This proposal is intended to be a variation on a coat closet that I installed in my Southold, Long Island House whose description follows:

For the first few years after finishing the Southold house, guests entered the front door sometimes with wet coats, muddy shoes, or a light jacket needing to walk up a flight of stairs to deposit coats on one of the beds.  Snowstorms were especially bad and Ellen would occasionally postpone a diner party if snow were forecast.  I hadn’t built a closet in the front lobby. I thought we could easily live without a coat closet. We never had one in our Manhattan apartment.

The lobby provides an introduction to the concept for our house and a coatroom would have destroyed the philosophical and emotional effect that I was attempting to create upon entry. The entry is an overture, setting up, forecasting, and foreshadowing a sequence of events and episodes. 

Downtown Southold had a small elegant clothing store that declared bankruptcy. The mahogany interior and its contents were being auctioned and I decided I would attend the auction and make a bid for the cabinet work.  I had recently purchased a few mahogany boards at Riverhead Lumber and knew how expensive mahogany was. I wanted to build some furniture for the house. With my new 220 volt surface planer I could resurface the wood from the dismantled clothing store and I would have more than enough lumber for future projects.

There was very little bidding activity and I did make the winning offer. To my surprise the price included the entire contents of the store, including clothing, shoes, stationary, files, boxes, bottled water, a case of red wine, books and magazines and an empty cash register.

I hired two local guys to disassemble the store and truck the parts to my studio.  When I returned from the city that evening I was surprised to see the clothing store reassembled inside my studio.

The following night we had invited several friends over for a dinner and because the studio is less than 50 feet behind the house and more convenient than climbing stairs, guests made a short pilgrimage to my studio to hang their coats in the clothing store.

Proposal 7.   A 10 feet cube is constructed using enamel red Amscor industrial shelving.  These shelves being 12 inches deep create an interior empty cube of 8 feet. Sheets of 4 x 8 cedar veneered plywood are screwed to the interior metal vertical posts which support the external shelving.  The cedar interior walls and ceiling are unpainted. The cedar floor is protected with matt polyurethane.

Cedar has a wonderful aromatic smell. It was traditionally used as a closet lining because it repels moths. The red enameled steel shelving draws out the slight reddish hue of the cedar while simultaneously creating a stark contrast of the technological to the natural.

One row of Shaker pegs circles the interior at coat hook height. Backpacks and parcels are placed on the exterior red shelving.

A small fragment of the complete cube passes thru the coat room wall and is visible from the lobby. Fragments of two other cubes are positioned within the interior of the present coat room to provide additional museum storage as seen in the drawing above.

Proposa8.   A free standing, slightly skewed 28 feet long wall appears to float within the existing space. It contains 8 doors. The wall doesn’t touch the buildings architecture. Behind each door a unique closet.  Closet 1 is cubic, closet 2 rectangular, closet 3 cylindrical, closet 4 is conic, closet 6 is spherical, closet 7 is amebic and closet 8 is trapezoidal. 

Proposal 9.    I found the following description on the World Wide Web and couldn’t pass up the opportunity to quote word for word. “Slatwall is much more than a wall-based display solution. Versatile Slatwall can play many parts in your display plan. Take your pick from the Slatwall range of free-standing display units - or go for a custom design. All the benefits of the Slatwall system are available to you in such useful forms as gondolas, X frames, stackable cubes, column surrounds, island shelf units and easy-to-assemble modular freestanding displays. Slatwall is much more than a wall-based display solution.” From ShopBasics, ,  Fyswick, ACT, Austrailia

All of you are familiar with Slatwall products. It is used as a display system in Gap stores (see proposal 5 and is distributed by Allen Display, see proposal 9).

Slatwall is a ¾” medium density fiberboard panel with grooves, installed on walls or used in displays. There are thousands of wire and acrylic fixtures that fit in the slats to display almost any type of sculpture or artifact.  Although it is common in retail institutions, to my knowledge it has never been used within the museum world.   

Because Slatwall is available in so many colors and textures this product would be equally suited to an elegant period room, a sculpture exhibition, a contemporary installation by Ann Hamilton or Ilya Kobakov or to the immediate requirements of our coat check room.

Proposal 10.    One can immediately understand the great potential and application of the following description of a closet for my house in Southold as a concept for Smith College Museum of Art coat check room:

I began to use Caroline’s bedroom as a painting studio when she was a junior in college.  I felt guilty about taking over her room, but we had already begun to use her room to store excess clothing that had overgrown our few tiny New York City closets. 

Contemporary architects are timid about the use of color; their choices range from China White to Navajo White, from Atrium White to Photo White, from Bright White to Platinum White.  I had great difficulty distinguishing the difference between cobalt blue, Prussian blue and cerulean blue, between ivory black and mars black, between yellow ochre and zinc yellow. 

I charted each color by painting the hangers in Caroline’s former room now closet/studio with oil paint. The first batch was painted with color straight from the tube: alizarin crimson, burnt sienna, cadmium orange, cadmium red, cadmium yellow, raw umber, cerulean blue, cobalt blue, dioxazine purple, ultramarine blue, ivory black, mars black Naples yellow, Payne’s gray, Prussian blue, thalo green, titanium white, zinc white, viridian blue, yellow ochre and zinc yellow.

With a set of alphabet stamps I hammered into each of the wood hangers embossing the title of its color so that I could return to the proper tube.  As my painting technique became more sophisticated I mixed complex combinations of colors, for example: adding a complimentary color in order to change its shade or hue. Each of these more complex colored hangers was number stamped and referenced on a 3x5 index card with its “colors recipe”.

This collection of colors continues to grow today, and I’ve begun to transfer this information into my computer data base. I often need to reorder additional hangers from Connecticut Hanger and Fixture Company.

Proposal 11.    At present I don’t see how the following description of another closet in our Southold House has any application to Smith College Museum. This closet worked so well for my wife and I. With continued exploration I am sure we can develop a suitable application for the Smith.

I don’t like garment bags that are used to protect dry clean necessary clothing.

We moved into our house before the drywall was completely installed. Drywall compound dust even drifted into our closed closets. Washing the compounded clothing proved useless because the white drywall dust would reconstitute itself and harden on our clothes turning into George Segal-like sculptures. The dryer was in constant need of repair as hardened particles of compound clogged the air vents and caused the dryer to burn out due to overheating.

Plexicraft is a fabricator of acrylic products in Chelsea that I often contracted to build vitrines and museum display cases for my sculpture before I decided to devote full time to the design and construction of our Southold house.  Clear Plexiglas clothing vitrines came to mind as a possible means to solve the drywall compound dust problem, as I had a lot of exposure to the museum world. 

Plexicraft does nice work but they are expensive. Because cost is determined by size, and I had limited closet space, I wanted them to fabricate these drywall dust proof Plexiglas garment storage units as small as possible in order to fit each item of clothing without causing wrinkles. They invented an ingenious solution to access the clothing easily without compromising its air tight closure.

The first of the garment vitrines to be fabricated was translated from dimensioned drawings of my favorite black Hugo Boss suit which after a long wait for delivery to Southold, I found to leave a too large unappealing negative space surrounding the suit and the Plexiglas volume. The second, also fabricated from an extensive set of scale drawings of my favorite Nike’s, required me to place the sneakers inside at an awkward diagonal.

The obvious solution was to ship my clothing directly to Plexicraft so that there would be no mistake in the translation of my drawings.  I used overnight express because I didn’t have a large enough wardrobe; my clothing would be unavailable to me during fabrication and delivery.

We invited many New York City guests to spend weekends with us in the country with the provision that they would make a stop at 24th Street to pick up a vitrine at Plexicraft on Friday afternoon and return to Plexicraft to deliver more clothing the following Monday morning.

Proposal 12.  Thread: A Coatroom for Smith College Museum of Art is a simple and minimal concept for an artwork that fulfills the museum’s requirements as stated in the brief titled “Coatroom Concerns”.  I used these requirements as inspiration for this sculptural installation.

Thread is an extended and conspicuous red railing that winds its way up to, into and through the museum. The outside of the museum flows into the inside. Seen from the street the red railing communicates that the museum is reaching out. The line flowing along the façade of the museum is a draw, drawing one inside.   It poses the questions “What is art?  Where is art’s place in a museum building?  Can art have function?” 

Thread points the way to the entrance and directs people to the coat check room. It welcomes you to “take your coat off and stay awhile”.

Appearing as a continuous line drawing in three dimensions, the red railing is actually an organizing functional system. It is an armature. The ordinary closet railing comes out of the closet. It supports and contains objects that, in this museum context, become decoration: coats, umbrellas, signage, banners, monitors, shelving and a curtain wall. 

The museum is a living organism, now with a pumping and circulating red vein. It flows through the lobby and into the coatroom where it seems to pass through the window.

Outdoors it threads along the front façade of the Museum forming an entrance arch over the stairs and finally curving down to form the stair handrail.  The handrail and the

interior balcony railing are the beginning and end points of this thread line- a non verbal narrative that links visitor to museum, and fine art to applied art.

Proposal 13. Twenty letter-identified clothing racks are neatly organized in rows.  Hangers are each personally addressed in hand printed India ink letters (like the identification numbers seen written on artifacts in archeological museums).

On the L rack Martin Little’s manufactured wood coat hanger is whittled with odd looking symbols and shapes and low relief. On the P rack Lavinia Palladino’s remains unadorned. Paolo Witter’s hanger has indented letters spelling BELCO INC. Elizabeth Rowland’s hanger on R is constructed with branches. Some are indecipherable as hangers. Unadorned black wire hangers and others having no space for the ink name and address, have round paper tags strung to them.  Denise White’s is so delicate it is hard to believe that it can bear the weight of a silk scarf. Thomas Lynch assembled his hanger with the bleached bones of some type of shore bird. Another is made from feathers. I even noticed a photograph of a hanger lying on the floor near bits of feather, hair, shavings of wood and drops of black ink.

Proposal 14.  Bach’s Mass in B Minor is broadcast from a pocket in the red plaid jacket. Approaching the gray tweed jacket, dinner time conversation gets louder. Piano in satin red. Heavy metal from the pocket of a fake fur.

Proposal 15.  A spaghetti-like network of 1 5/16” diameter stainless steel Railex System 432 continuous tubing is suspended overhead. I’ve been eating too much pasta lately at the American Academy in Rome, and spaghetti when wet and curved into shapes will stay in that shape when dry. This proved very helpful when modeling proposals for the Coat Check Room. Pendants hanging downward hang hangers hanging coats, jackets backpacks and umbrellas. The confusion of overhead tubing, hangers and garments simplifies as each garment passes through the wall of the coat room into the lobby, theatrically presenting itself before its owner.

Proposal 16.  The Coat Check Room contains 400 feet of clothes line suspended from 64 pulleys. Coats, backpacks and umbrellas, hung from this continuous line, circuitously snake their way through the relatively small space of the existing coat check room.


Proposal  17.  The proof of admission sticker/button is a miniature camera that broadcasts each visitor’s route through the museum onto one of many  televisions mounted grid-like into the façade of the building replacing the existing window of the coat check room.

The street becomes a museum. The façade constantly changes as people enter and leave the galleries, approach and turn away from a Matisse, circle a sculpture by Rodin, turn at a Walker Evans photograph.   The building pulsates, flashes color; the façade becomes a collage of color, image and movement

Proposal 18.  Many confused museum destination determined people walk forward unsuspectingly into the Smith College School of Art. This proposal began as an attempt to redirect a visitor’s path into the museum.

This proposal suggests that we use this orientation problem as an opportunity requiring all people to detour through the various studios in the art school.  Museum educators have written extensively regarding the importance of conveying the artistic process. They speak about the importance of process over artifact. Students are examples of this process.

Historical documentation of artists in their studios, like the many Hans Namuth photos of Pollock at work, is a useful tool for scholars. Film directors have attempted to present artists at work like Van Gogh and Charlton Heston’s Michelangelo seems convincing, but these films can not be accurate. I once invited a psychic medium to my History of Architecture class in order to communicate with the departed soul of Mies van der Rohe but I wasn’t convinced of the authenticity of his German accent.

I would like to encourage a groundbreaking, trendsetting and courageous proposal that Smith install surveillance cameras in all art studios in the School of Art. In this way every student’s artistic process would be continuously archived for future historians.

Proposal 19.  As a free lance exhibition designer for the Rhode School of Design Museum last year, I was required to enter the museum through its back door security office. This office contains a bank of monitors. Each monitor is devoted to each gallery. A camera mounted in each gallery rotates and scans the walls and floors of the gallery. I’m sure that Smith has a similar security setup. I propose that Smith’s video surveillance security office be relocated into the coat check room and a live feed cable television show Smith College TVeum be broadcast from these surveillance cameras to the members of the museum. Trial previews of TVeum would encourage members of the Northampton community to become members of SCMA.

Proposal 20.  The entrance lobby is a transition between the exterior and the interior of the museum. A lobby is not a necessity in a small museum where space is at a premium, but it is desirable in a larger museum.

When planning a museum vestibule, interesting proportions, pleasing decoration, and convenience should be sought. At least one coat closet and possibly a powder room may be located off the lobby. Closets can be located in a corner; bookshelves and cupboards can line the walls. Lobbies can be plain or lively. Decorative and durable floors of linoleum or tiles are suitable in some museums. Under no circumstance should art be placed in the vestibule.

The entrance hall is important because it gives the first and the last impression of the museum to the person who is arriving or leaving. The vestibule should not be slighted, and it should indicate fairly clearly the character of the art in the rest of the museum. It should be treated in a somewhat impersonal way, even to the extent of formality.

Since empty space is desirable in an entrance hall the pieces of furniture should be few. A lobby needs only a chair or bench and a mirror, although a small table is useful. In large museums such pieces as a table, console, chest of drawers, low chest, bench or sofa with end tables are suitable. Pairs of things are sometimes used to give a formal effect. The entrance should not invite one to linger; pictures and sculpture are out of place in it.

Proposal 21.  Horse hair added to the plaster mixture in a traditional plaster wall allowed the wall to expand and contract preventing the wall from developing hairline cracks. I asked members of the community to drop off their old clothing inside the lobby of the museum for free admission that day. A team of art students cut the clothing into strips. These fabric strips – rebar- were mixed into the plaster mixture and toweled onto the wood lath skeleton of the walls. Today if you look closely you will see fragments of shirt sleeves, a button, or a collar of a jacket embedded in the finished plaster walls. Cracking in concrete floors has become an aesthetic in Chelsea (NYC) art galleries, but with the addition of shredded clothing this cracking could have been prevented.

Proposal 22.  The Coat Check Room for Smith College Museum of Art is constructed with standard 2x4 and sheetrock separated from the existing walls of the space by 4 feet. The sheet rock is attached to the 2x4s using traditional hardware variety coat hooks. These coat hooks are used instead of dry wall screws and create a grid of hooks every 16 inches as in standard drywall construction.

Proposal 23. I walked through the door of Allen Display momentarily believing that I had entered into an exhibition of Alexander Calder Sculptures. The shinny chromed and primary colored racks, brackets, displays, stands storage units, shimmered, balanced and swayed. A Trac 2001 Clothing System Display began to dance and wave in front of my eyes. A Designer400 Clothing Storage System began to oscillate, flicker, and throb.  Foreground reflective parallel lines played with background reflective lines causing moiré patterns. Fooling the eye, cubic framed racks turned inside out. Hangers hung upon hangers upon closet bars cantilevering precariously.

 Coat check room 9 contains one Standard Line Clothing Rack, one Office Coat Rack, one Ladder System Clothing Display, one Designer 400 Clothing Rack, one Trac 2001Clothing System Display, one Trac 2000 Clothing System Display, oneSystem 94 Clothing Displayone ChainLinx System Clothing Display, one Alta Clothing Rack, one Milano Clothing Rack, one Mini Ladder System Clothing Display.

Proposal 24.  This proposal is similar to the previous proposal. Here an exhibition of David Smith Sculptures is displayed in the same space as clothing store fixture displays. Can you identify the David Smith sculptures? 

Proposal 25.   The Coat Check Room is:

a grid of manufactured coat trees that are all the same

a grid of coat trees that I build

a grid of antique coat trees    

a grid of transformed trees retrofitted into coat trees

Proposal 26.  This Coat Check Room consists of a collection of wardrobes, lockers, portable closets, self standing shelving,  and cabinets purchased from used furniture stores, found along curbs of cities on garbage days, pulled from recycling areas of local dumps or salvaged from junk yards These storage units are patiently, painstakingly, meticulously, and cautiously restored.  The attitude toward restoration is one in which repairs are made visible. Missing parts are replaced with elements that contrast their host. These replacement parts and repairs are color coded in red helping to create an organized ensemble from a group of discreet and unique objects.

Proposal 27.   The Coat Check Room for Smith College Museum of Art is 365 different coat check rooms that change each day of the year.

Proposal 28.  The Coat Check Room contains a free standing wall of transformed manufactured lockers. Each locker becomes a “canvas” upon which and within which to explore hand made interventions and variations.

Proposal 29.  The Coat Check Room for Smith College Museum of Art is the result of a studio that I teach for one semester within the art school.

Proposal 30.  The Coat Check is not pre - designed. A team of museum staff, students and members who are willing to devote one week of intense time are assembled. The coat room happens in a spontaneous fashion. A starting time is determined, and one week later the coat room is complete.

Proposal 31.   The Coat Check Room for Smith College Museum of Art is constructed in fabric. A continuous hospital track curtain rod defines a space. Hanging from this track are rods that can slide into different positions. Coats, bags, umbrellas, back packs can be hung from these hanging rods.

Proposal 32.  The Coat Check Room for Smith College Museum of Art is constructed in rusticated stone that is carved with niches and storage places for backpacks and with stones projecting outwards so that someone can hang a coat. In other words a space is designed without an initial interest in hanging coats. Subversively elements are provided that can be used to solve the required functions of the coat room.

Proposal 33.  The Coat Check Room for Smith College Museum of Art has no detail. The entire space is sheathed in carpeting, walls, floor and ceiling. Lighting enters through recessed canisters from above that have a mounted frosted disk that is flush with the ceiling carpeting. Hooks are randomly mounted to the carpeted walls using Velcro and can be placed anywhere.

Proposal 34.  The Coat Check Room for Smith College Museum of Art contains many individual lockers all the same but in different positions, sometimes sideways, hanging from above and stacked. They are used as formalist building blocks.

Proposal 35.  The Coat Check Room for Smith College Museum of Art is an exhibition of these proposals housed in the existing coat check room.

Proposal 36.  The Coat Check Room for Smith College Museum of Art is the transposed coat check room from the Museum of Modern Art.

Proposal 37.  The Coat Check Room for Smith College Museum of Art is a room constructed from pine with a pine shelf and a continuous pine dowel and pine hangers. The detailing of this minimal and simple cubic room is contrasted with its complexly jointed wood details.  Coats, jackets, umbrellas, and backpacks provide the only color.

Proposal 38.  The Coat Check Room is a 3 ½  feet wide corridor beginning at the entrance to the existing space and continuing in a loop through the existing wall. The corridor has coat hooks hung in one line at 16 inch intervals.

Proposal 39.  The Coat Check Room for Smith College Museum of Art ­is used as a studio for a local artist. In this studio are 2 coat racks and a few lockers.

Proposal 40.  The Coat Check Room contains the parts to a modular closet pole; many pieces of straight stock at 2 feet, 4 feet and 6 feet lengths,  90 degree elbows, 60 degree elbows, 45 degree elbows, and 30 degree elbows.  This continuous closet pole is assembled so that these too many parts are forced to remain confined to the small space of the existing coat check room creating a spaghetti-like assembly.

Proposal 41.  The Coat Check Room contains one closet bar; that is one line passing through the space. One shelf passes through the space in a slightly different position; that is one plane passing through the space. The line and the plane are in conversation with the coats and hats.

Proposal 42.  The Coat Check Room for Smith College Museum of Art is a collection of bronze castings of the elements that are currently in the existing coat room, including old catalogs in storage, a case of wine, a few un-claimed coats and four umbrellas. Lockers, 3 coat racks, and a push broom.

Proposal 43.  The Coat Check Room for Smith College Museum of Art is one bronze closet pole, one cast bronze locker, and one cast bronze shelf, one cast bronze coat tree, and one cast bronze coat hook.