I refer to the work of this time as “Site Sculpture” because it was uniquely built for its site, commented on its site, dramatized it and was often literally built into it. Most if it, although ambitious, was temporary and remained for anywhere from less than a year (“Adams’ House” and “Shorings”) to seven or eight years (“Mound for Viewing Slope and Sky”). “From the Center” still exists in a park in Dayton, Ohio and “The Lost House” was dismantled and remains in a private collection. The work was often part of a special exhibition and was funded by the museum or university where it was installed. These programs provided the artists with materials and construction assistance they might not have been able to afford on their own. The sloping sites I often addressed gave me the opportunity to conduct the elementary architectural exercise of making a structure level on uneven ground and at the same time heightening the experience of the participant moving through the spaces and levels that resulted. The houses contained memories of my childhood home in Jamaica, New York and of country homes in Central France where I lived in 1953–1954 while studying tapestry in Aubusson.
— Alice Adams