See below.

They are like pieces of a game that can be joined, separated, secluded, mounted, or detached, fashioning a mobile structure.

It is a game that gives the participants an opportunity to jump, meet, represent their reality, declaim, dream, in short, to transform the simple actions of everyday life
into rituals.

It is a metaphor of an America where countries can live in harmony, generated by the inherent wisdom of its matter and its intrinsic order. This harmony antecedes
the introduction of erosive elements by civilization. This wisdom at once recognizes national borders and individual entities, unites them by organizing them according to virtues dictated by a global primordial order, rather than the economic values of stratification.

In such a context, an atemporal instant can be incorporated into diverse ethnic, religious, and cultural manifestations. It is a moment in which man recognizes
himself as an integral part of the earth and of nature. Through Americas’ Courtyard the soul of the earth speaks. Differences become manifest but not mangled -- they become an active part of a wider process.

See http://www.americascourtyard.art.br for Ary and Denise's web site about their sculpture.

I- First located in Chicago, in May, 1998, right by the Art Institute, at the corner on Columbus Drive and Monroe Street, where it was kept for six months.

II- For its permanent installation, the work raised the interest of three different museums in Chicago, on the Museum Campus, at Grant Park: Field Museum, Adler
Planetarium and Shedd Aquarium.

III- On December 7, 1998, it was permanently installed in front of Adler Planetarium. On June 18, 1999, the Museum organized a celebration ceremony which they called the re-incarnation of Americas´Courtyard.

The new configuration dislays two spirals unwinding, just like The Milky Way, with stones following one of the shapes suggested by its authors, and lay-out by
Phyllis Pitluga, archiastronomer, who related it to the stars following Chicago’s solstice and the equinox, just like Stone Henge and other civilization stone
monuments (Chicago Sun-Times).

IV- Chicago’s Art Institute – one of the most prestigious art institues in the United States – is also working on sculpture models to be used by their Education Department.

V- The sculpture has served as an art education exchange model among youngsters from distant countries who can communicate through the study of the work, and through the social topics and issues they experience.

The sculpture addresses transversal themes as proposed by Brazil’s Ministry of Education Art Curricula Parameters.

VI- The mobility of the sculpture raises issues within the realm of contemporary public art. It sponsors the possibility of integration with the community sharing it,
and with the space around it, and it may come to be the best form of interaction with that very space and that very community.

See http://www.americascourtyard.art.br for Ary and Denise's web site about their sculpture.