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Richard Serra's "claim to an absoluteness of direct and immediate aesthetic presence and to absolute experience of mis presence" (Buchloh 1989, 115) gives way to the creation of strong formal objects that overwhelm observers and guide mem toward a new experience of spatiality. In the past, the aesthetic radicalism and solidness of Serra's work - which primarily takes on its powerfully effective generative creativity from mese characteristics - has also aroused resentment in broad segments of the population, even erupting into violence against sculpture and artist. Strikingly, however, the arguments brought forward against Serra's sculptures very rarely address the artwork itself. Rather, controversies surrounding his sculptures reveal latent sensitivities, hostilities and conflicts of interest. This paper explores how Serra's massive but anti-monumental sculptures unearth the social and temperamental latency zones of modern society through an examination of three case scenarios: Terminal in Bochum, Germany (1979), Tilted Arc in New York City, USA (1981), and Intersection in Basel, Switzeriand (1992). [PUBLICATION ABSTRACT]