Mr. Collens states, “One of the most exciting aspects of this exhibition is the variety of styles and mediums represented. We are grateful to all of the artists who have created or loaned artworks in honor of Storm King’s anniversary.”

The works in 5+5: New Perspectives will be situated as follows.

Also on the patio is John Bisbee’s Squall (2010), created especially to celebrate Storm King’s fiftieth anniversary. The large-scale work comprises 2,000 pounds of 12-inch spikes, welded by the artist into ten 40-inch-wide, hollow, lace-like spheres which, in turn, are stacked to create a symmetrical pyramid. Each sphere (or squall) has an active, swirling surface; together they produce a structure that is at once hulking and of surprising lightness and grace. According to the artist, Squall is intended to mirror Storm King’s “shining moments of magic and meaning within the vast beauty of its rolling nature.”

Mark di Suvero, whose monumental steel works may be viewed from a variety of perspectives across the Storm King landscape, is one of the artists in the exhibition who is most closely associated with the sculpture park. For the anniversary season, Mr. di Suvero selected two works, the smaller of which, al di la (2008), is installed on Museum Hill. A nine-foot-high composition of energetically curving steel- and stainless-steel forms, it is supported by a metal pole welded to a base. (See also page 5.)

Stephen Talasnik’s Stream: A Folded Drawing (2009–2010) was made especially for installation at Storm King. This vast site-specific construction consists of some 3,000 bamboo poles tied together to form a monumental yet intricate structure some 12 feet high by 90 feet long. Roughly kidney-shaped in footprint, it appears to be rolling down the hill on which it is sited. Visitors will be able to walk inside the structure to experience the work, as well as others that are visible through its armature, from a variety of perspectives. Please visit www.stormking.org/stream for more information, photos, video and more.

Mirror Fence (2003), a large-scale work by Alyson Shotz, is installed adjacent to a dirt road to the southeast of the Calder hillside. It was originally commissioned by Socrates Sculpture Park, in Long Island City, for Yard, an exhibition that examined suburban yards and what they may signify. For Mirror Fence, Ms. Shotz reimagined the iconic white picket fence, which she viewed as both a symbol of the elusive American Dream and a means of establishing boundaries. It is a 130-foot-long picket fence with a reflective surface that refracts and distorts reality and seems to appear and disappear into the landscape, depending on the angle from which it is viewed.

In 1997–98, commissioned to create a work at Storm King, Andy Goldsworthy worked with wallers from his native UK to fashion the evocative Storm King Wall, which meanders in a serpentine fashion around trees and rocks, entering a pond and emerging at the other side, and continuing to the edge of the western border of the property. This spring, Mr. Goldsworthy created Five Men, Seventeen Days, Fifteen Boulders, One Wall (2010) for Storm King’s fiftieh-anniversary season. Working once again with British wallers, Mr. Goldsworthy altered a 309-foot dilapidated wall on the Storm King grounds, using 250 tons of stones found on the property to build up a major span of the wall, while allowing the ends to taper off gently, evoking an ancient ruin. The wall winds around boulders along a grove of trees in the landscape.

Chakaia Booker, whose work was featured in special exhibitions at Storm King in 2003 and 2004, has created Foci (2010), a 30-foot-high sculpture made of car tires. These have been cut, twisted, and looped to create concentric, bisecting ovals that evoke the movement and abstract shapes of the Storm King landscape, including both natural terrain and human-made fields.

A major work selected by Mark di Suvero is also installed in the South Fields, on the north side of a pond. Titled Old Grey Beam (2007/2010), this monumental steel sculpture is on public view for the first time. A central 54-foot-long I-beam soars from an A-frame section, forming a tripod of subtle grace and verve. The work appears markedly different depending upon the angle from which it is viewed, and provides a lively visual dialogue with four nearby works by the artist.

Another gallery on the first floor, focusing on Claes Oldenburg’s Wayside Drainpipe (1979), provides an example of Storm King’s enduring relationships with individual artists. Included here are a maquette, drawings, and fabrication sketches for the work, which was installed at Storm King by the artist in October 2009, thanks to a long-term loan from a private collector.

Another gallery looks at the inspirational role of David Smith’s sculpture in the evolution of the Storm King collection. This room contains an ongoing installation of work by Smith, including Tanktotem VII, of 1960; The Iron Woman, dating from 1954–58; and Five Units Equal, of 1956.