Abstract
Readymade sculpture installation program has a simple administrative procedure: select appropriate sculpture from the catalogue, purchase it, and install it. Therefore, sculpture itself has no relationship to the site where it is installed, and the sculpture cannot obtain site specificity. This paper analyzed the first program of this kind in Nagano city initiated in 1973, similar program in Asahikawa city initiated during the same period, and the public sculpture program for Odori park in Yokohama city from 1978 to 1981. Here, Akira TAMURA's statements are important. In conclusion, these municipal administrations recognized readymade sculpture installation as a suitable way to obtain a collection of sculptures with diluted monumentality that is desirable for ideologically diverse society. After the cold war and the decline of bubble economy, however, these sculptures seem to be turned into a symbol of admiring prosperity and capitalism.
