Robert Murray with Athabasca, 1965-67

Marisol with Mi Mama y Yo, 1968

Ellsworth Kelly with Yellow Blue, 1968

Louise Nevelson, Atmosphere and Environment X, 1969–70

Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks, 1969 during the installation at Yale University

Forrest Myers with Four Corners, 1969–70, the first time the piece was set up at Lippincott. The sculpture is part of the permanent collection of the Storm King Art Center in Mountainville, NY.

Clement Meadmore, Upstart I, 1967, installed in Detroit for Sculpture Downtown in 1969

Barnett Newman’s Broken Obelisk, 1963–67, during installation in Detroit for Sculpture Downtown

Clement Meadmore, Split Ring, 1969, with curator William Leonard, Don Lippincott, and Roxanne Everett

Robert Indiana and the Lippincott crew stand in front of the finished LOVE, 1970. Front row, left to right: Indiana, Roxanne, Toad, Bob Sanford, Peter Versteeg. Back row, left to right: Bill Rascoe, Don, Frank Viglione, Eddie Giza, Joe Lesco, Bobby Giza. This piece was shown for the first time at the Indianapolis Museum of Art as a part of Seven Outside in 1970, when it became part of the permanent collection.

George Sugarman during an interview beneath Saint Paul Sculptural Complex, 1968, at the First National Bank of Saint Paul

Ronald Bladen, Cathedral Evening, 1971, shown here at the shop; this sculpture was commissioned for the Empire State Collection in Albany, NY

Robert Morris with Untitled, 1972, during the installation at the Wadsworth Atheneum Museum of Art in Hartford, CT

David von Schlegell, Untitled, 1969, during installation at Storm King Art Center in Mountainville, New York. The three elements of the sculpture are precisely placed in a line, with all the frames on a level plane in space.

Don and Louise Nevelson with Atmosphere and Environment XIII (Windows to the West), 1972. This sculpture was commissioned by the Scottsdale Fine Arts Commission, with assistance from the National Endowment for the Arts, and installed in Scottsdale, Arizona, in 1973

Louise Nevelson’s Sky Covenant, 1973, at Temple Israel in Boston

Ellsworth Kelly and Don looking at Curve II, 1973, at the shop. The sculpture is suspended from an overhead crane so that Kelly can examine it and decide on the size of the base.

Jean Dubuffet’s Milord la Chamarre, 1974, during installation at the Seagram Building in New York City. As always with public installations, a large crowd has gathered to watch the process unfold.

George Sugarman, Kite Castle, 1974

Robert Murray (second from right) with the crew at Lippincott, Inc., under his Quinnipiac, 1974. This sculpture is part of the collection at the University of Massachusetts, Amherst.

Claes Oldenburg comparing his model to the large-scale Clothespin, 1976. The ladder allowed him to examine the shapes of the forty-five-foot Clothespin in the way it would appear when vertical, to a viewer standing nearby. Sugarman’s Yellow Ascending, 1977, is in progress at the left.

Claes Oldenburg and Coosje van Bruggen, Batcolumn, 1977, during installation at the Harold Washington Social Security Center in Chicago

Claes Oldenburg and Coosje van Bruggen, Crusoe Umbrella, 1979, installed in Des Moines, IA

Nancy Graves, Trace, 1981, in the field at Lippincott, Inc.

Donald Judd, 100 untitled works in mill aluminum, 1982–86, detail. Interior of one of the modified artillery sheds at the Chinati Foundation showing a portion of the one hundred boxes in place. Each box has the same overall dimensions of 41 x 51 x 72 inches, but the division of the space within that envelope is different in each case

Ellsworth Kelly, Untitled, 1982–83, at the Dallas Museum of Art

William T. Wiley, Boo Dada Bar BQ

Ellsworth Kelly, Untitled

Ellsworth Kelly, Untitled, 1983

Robert Murray, Hillary, 1983, at Grounds for Sculpture in Hamilton, NJ

Claes Oldenburg, Tube Supported by its Contents

Keith Haring, Untitled

William T. Wiley, Gong

Jonathan Borofsky, Man with Briefcase, 1987

Claes Oldenburg and Coosje van Bruggen, Spoonbridge and Cherry, 1988, in the Minneapolis Sculpture Garden, Walker Art Center, MN.

Roy Lichtenstein, Modern Head, 1974/1989 in the field at the shop

William T. Wiley, Tower of the No Bull Salvage

Jonathan Borofsky, Hammering Man, 1991. One of six versions of this sculpture made by Lippincott, this piece is part of the collection at the Seattle Art Museum.

Red Grooms, Henry Moore in a Sheep Meadow, 1992

Tony Smith, Moondog, 1964/1996–97

Tony Smith, Smog, 1969–70/1999–2000, part of the collection at Middlebury College in Middlebury, VT

Tom Wesselmann, Bedroom Brunette with Irises, 1988/2004

Tony Smith, Generation, 1965/2005

Tony Smith, Smoke, 1967/2005 at the Los Angeles County Museum of Art

Tony Smith, Smug, 1973/2005. Alfred stands with Smug after the installation at Glenstone in Potomac, MD

Tony Smith, Smug, 1973/2005. Aerial view from the crane at the completion of the assembly at Glenstone in Potomac, MD