The Museum Without Walls: The Monumental Sculpture Park of Fulton Industrial Boulevard

Introduction: Industry and Aesthetics

The development of the Fulton Industrial District along the Chattahoochee River in the late 1960s was primarily an exercise in massive logistical and infrastructural engineering. However, amidst the concrete and steel of this heavy industrial zone, a highly unusual cultural experiment briefly flourished. In November 1968, the developers of the Great Southwest Industrial Park attempted to merge heavy industry with fine art, opening what was described at the time as the largest public collection of monumental contemporary sculpture in the world.^[1]

The history of this forgotten open-air museum highlights the ambitious nature of mid-century corporate urban planning, detailing how a collection featuring some of the world’s most renowned contemporary artists was assembled, installed among warehouses, and subsequently dismantled by corporate neglect.

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Chapter 1: The $400,000 Deal and the Texas Visionaries

The catalyst for this cultural installation was Angus G. Wynne Jr., a real estate developer and the president of the Great Southwest Corporation (GWC) based in Texas. Wynne had already founded the Six Flags Over Texas amusement park when he decided to expand his operations to the outskirts of Atlanta. He envisioned a dual-development model: crowds would visit the new Six Flags Over Georgia for amusement, and then cross the Chattahoochee River to a massive industrial complex for culture.^[2], ^[3]

Assembling the land for this vision was a monumental task. Ewell Pope and Frank Carter, partners in the Pope and Carter Company of Atlanta, worked for five years to put together a 3,000-acre site along the river. For their efforts, they earned a brokerage fee of $400,000, which was the largest fee ever paid in Atlanta for a single industrial tract at the time.^[4] The holding group that ultimately purchased the property was backed by immense national capital, including Winthrop Rockefeller, Maurice Moore (president of Continental Trailways in Dallas), and Dallas financier Trammell Crowe, who was already known in Atlanta for his investments in the Merchandise Mart and the Regency Hotel.^[5]

The $7 million project was heralded as the largest industrial development park in the Southeast and the second largest in the nation, featuring a 100-acre site for the play area and a massive buffer zone.^[6] Mayor Ivan Allen Jr. expressed “grateful appreciation” for the selection of Atlanta. To solidify the partnership, a delegation of prominent Atlantans, including Pollard Turman (president of the Atlanta Chamber of Commerce), Dr. O.C. Aderhold (president of the University of Georgia), and Dr. Sanford S. Atwood (president of Emory University), were flown to Dallas for a fun-filled tour of the Texas amusement park and industrial facilities.^[7]

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Chapter 2: The “New Skyscraper City” and the $350,000 Commission

Wynne conceived of the 3,000-acre industrial park as a “museum without walls,” a center of commerce rooted in reason and beauty.^[8], ^[9] Decades later, Gil Prado of the Boulevard Community Improvement District (CID) summarized the developer’s unique vision: “The original developer of the Great Southwest Parkway Industrial Park was innovative because he sought to differentiate his project from the competition and create a public amenity by incorporating public art.”^[10]

To execute this vision, the Great Southwest Atlanta Corporation (GSAC) hired prominent consultants. Dallas landscape architect J.O. Lambert designed the park’s layout, while Josef Albers, the renowned Bauhaus painter and educator, was placed in charge of coordinating the colors of the industrial buildings and contributed one of the site’s first sculptures.^[11], ^[12], ^[13] Douglas MacAgy, a writer, former director at the Dallas Museum for Contemporary Arts, and associate director at the National Endowment for the Arts, was brought in to head the sculpture committee.^[14], ^[15]

To populate this industrial grid with world-class art, GSAC turned to John Gibson, a New York gallerist who specialized in seeking patrons in “new skyscraper cities” located chiefly in America’s Southwest and South.^[16] Gibson viewed Atlanta as the perfect canvas for monumental art. “I think Atlanta is a new kind of skyscraper city,” Gibson noted in 1969. “I find there an openness of mind you’d never find in Chicago. New York is different. New York is always new.”^[17]

“GSAC immediately spent $350,000 on extremely up-to-date sculpture for the industrial park, with an ambitious 10-year acquisition plan designed to accommodate up to 1,000 pieces. Gibson sold the corporation eighteen pieces of sculpture by well-known ‘Primary Structuralists’ such as Will Insley, Don Judd, Les Levine, Gerald Laing, and Sol Lewitt. Somewhat facetiously, Gibson remarked that he was in the business of selling ‘mail order monuments,’ convinced that only sculpture on a monumental scale fit into today’s skyscraper world.”^[18], ^[19], ^[20], ^[21]

The opening gala for the park on the weekend of November 1 and 2, 1968, celebrated the initial installation of thirty-one monumental works. Local press coverage highlighted the deliberate contrast of the project. Writing for The Atlanta Constitution, reporter Ann Carter described the event as “Art a Happening In Incongruities,” noting the striking visual of contemporary sculpture set against the backdrop of newly opened, widely spaced buildings. “Only the lack of smoke is a major incongruity,” Carter observed of the pristine industrial setting.^[22] To further highlight the installations, permanent spotlights were installed that reached into the Atlanta sky, placing a star figure directly over the imposing sculptures in the night.^[23] In a display of corporate synergy, guests at the gala were driven from sculpture to sculpture in the small electric trains normally used to transport visitors through the massive Six Flags parking lot.^[24]

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Chapter 3: Corten Steel and Bulletin Red

The unique environment of the industrial park presented specific logistical challenges for the commissioned artists. Because the park was designed to be traversed by car, the roadside sculptures were installed to be appreciated from a vehicle window.^[25]

The scale and materials of the art reflected the heavy industry surrounding it. Tal Streeter contributed Red (River Queen), a massive painted steel structure rising 60 feet into the air. David Hall provided Second Box, constructed of white painted steel, while Robert Murray installed Montauk, a piece made of painted aluminum.^[26], ^[27] Renowned American sculptor Dorothy Dehner was commissioned to create a piece for a pale brick wall. Dehner designed a 7-by-11-foot relief constructed of thick red, black, and white Plexiglas, engineered with custom aluminum brackets to allow the plastic to expand and contract safely in the extreme Georgia heat.^[28] Dehner embraced the corporate vision, writing in 1969 that the park was designed so that “Instead of an industrial slum growing just anywhere, deteriorating even as it is born, the Industrial Park is conceived as a center of industry in terms of reason and beauty.”^[29] While the collection featured internationally renowned artists, Dorothy Berge was notably the only Atlanta artist represented in the park.^[30], ^[31]

The art was not meant to be passively observed. Sculptress Doris Chase contributed “Changing Forms,” a massive 5,000-pound kinetic sculpture made of three hollow steel forms mounted on a tripod base. Constructed of corten steel, a material with a high nickel content that rusts without flaking and heals itself if scratched, the sculpture was built by commercial metal workers and designed so that children could physically rearrange the pieces. “When they are in control of something like this, it gives them a feeling of power,” Chase noted.^[32] In a December 1968 slide presentation at the High Museum of Art, Douglas MacAgy explained the experiential nature of the installations, likening the modern sculpture to Zen philosophy.^[33], ^[34] MacAgy embraced the public’s physical interaction with the art, stating, “When they are out here, they are not in a museum… It’s a change of pace.”^[35]

The crown jewel of the collection was commissioned from sculptor Peter Forakis. Forakis delivered a piece titled the “Atlanta Gateway,” which served as the defining centerpiece of the entire industrial park.^[36] The Gateway was a gigantic, minimalist geometric structure constructed of 1,080 feet of tubular steel. Measuring 200 feet across and 90 feet high, the sculpture dominated the visual landscape of the boulevard.^[37], ^[38]

The creation of the Gateway was not without friction. Originally painted a glowing orange, Forakis was furious when he visited Atlanta for the sculpture’s dedication on July 6, 1967. The artist flatly stated he would not sign the work unless the color was changed to a specific “bulletin red.” Despite the color dispute, the dedication ceremony was a major civic event, attended by cultural leaders including opera star Blanche Thebom and High Museum director Gudmund Vigtel, who praised the steel pipe work as a “great abstract composition of geometric forms.”^[39] By 1970, the national business press was highlighting the Great Southwest Industrial Park and the Forakis Gateway sculpture as prime examples of a growing corporate trend to integrate fine art into commercial developments.^[40]

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Chapter 4: Corporate Collapse and Monumental Neglect

Historical Context: The Penn Central Bankruptcy
The open-air museum flourished only briefly before the corporate entity that funded it shifted priorities. In late 1968, in a complex financial maneuver to generate cash, GWC sold Six Flags Over Georgia to a limited partnership for $23 million while retaining operational control.^[41], ^[42] The true collapse came in 1970 when GWC’s parent company, the Penn Central Railroad, suffered a catastrophic bankruptcy. It was, at the time, the largest corporate bankruptcy in United States history. The financial contagion immediately infected GWC. Angus Wynne Jr. and president Victor Palmieri were deposed from their executive roles amidst lawsuits alleging overcompensation and financial mismanagement.^[43], ^[44]

To resolve its severe liquidity problems, GWC was forced to liquidate its assets. In the fall of 1970, the Great Southwest Industrial Park was sold to the Milwaukee-based Mortgage Guaranty Insurance Corp. (MGIC) for $7.5 million. MGIC rebranded the site as the Atlanta Gateway Park and retained the Chicago firm of Bennett & Kahnweiler to spearhead the revitalization of the industrial development.^[45], ^[46]

Under new ownership, the cultural amenities were rapidly abandoned. In 1974, MGIC formed a joint venture to run the park with local developers, Kunian Associates, but the management exhibited little interest in the remaining sculpture.^[47] The sculptures were left to the elements; many were severely vandalized, rusted, or utilized as flyposting points for political notices. In November 1981, The Atlanta Constitution published a scathing report by Catherine Fox titled “Artworks’ Neglect Is Monumental,” detailing the blighted condition of the once-grand collection.^[48]

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Chapter 5: The Rescue Effort and Surviving Legacies

Recognizing the impending loss of a major cultural asset, Fulton County Commission Chairman Michael Lomax spearheaded an initiative to save the remaining pieces. Working alongside Gudmund Vigtel of the High Museum, the county identified twenty surviving sculptures from the original thirty-piece collection.^[49]

In 1982, an agreement was reached to donate the deteriorating artworks to Fulton County. The $12,000 cost of restoring the sculptures was jointly funded by MGIC Investment Corp. and Kunian Enterprises. Local artist Ted Chatham was hired to execute the physical restoration of the steel and aluminum pieces.^[50] Lomax praised the rescue effort, stating, “It’s a great example of what can be accomplished when business and government tackle public problems together.”^[51]

The physical removal of the massive pieces was a monumental task. Atlanta gallerist Leonard Aronson, who assisted in the salvage operation, recalled the difficulty of dealing with new property owners who were entirely unaware of the art’s value. Aronson managed to purchase four sculptures for ridiculously low prices, one insider guessed he got them for the price of the scrap metal. He donated two to the High Museum and sold two to local real estate developer Charles Ackerman. In one instance, the owners believed a set of steel cubes by Donald Judd was simply an abandoned air conditioning unit. Reflecting on the demise of the park, Aronson lamented, “The sculpture was literally discarded. By 1971 no one was left who cared about the sculpture. It was a sad affair; it started off really a very energetic and forward-looking manner of handling really great art, and it just went to pieces.”^[52], ^[53]

Through these salvage efforts, the collection was permanently dispersed. MGIC donated several works to the Milwaukee Art Museum, which later transferred them to the Lynden Sculpture Garden in Wisconsin.^[54] The High Museum of Art acquired three sculptures, including Tal Streeter’s Red (River Queen) (1973), which was relocated to the Woodruff Arts Center.^[55] Other pieces were distributed to public facilities across Fulton County. David Hall’s Second Box (1965) was moved to the South Fulton County Government Service Center, Isaac Witkin’s Skate (1967) was placed at the Central Library, and Robert Murray’s Montauk (1967) was relocated to the library branch in Adams Park. Additional works by Ted Chatham and Anthony Magar were relocated to the Northside and Hapeville library branches, respectively.^[56]

Despite these rescues, at least fourteen of the original commissions, including works by Sol LeWitt and Josef Albers, were lost entirely, either destroyed by storms or discarded as scrap. Among the lost masterpieces were Sol LeWitt’s A-7 (1966), a white grid on the ground with the outline of a cube set in its center, and Josef Albers’ Garden (1966), a set of rectangles made of sandstone, pebbledash, and brick.^[57]

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Chapter 6: The Restoration of the Gateway

The only piece of the original 1960s collection that survived the corporate purge and remained on its original site was Peter Forakis’s massive Atlanta Gateway sculpture. For decades, it stood over the boulevard, its red paint fading to a pale pink as the surrounding industrial park grew into a massive logistics hub.^[58]

The trajectory of the corridor shifted in 2010 when local property owners formed the Boulevard Community Improvement District (CID) to revitalize the area through public safety initiatives and infrastructure improvements.^[59] Recognizing the lost cultural history of the corridor, the CID launched an initiative in 2015 to restore the sole surviving piece of the art park. The CID funded a $40,000 restoration project, hiring the Decatur-based commercial painting and coating company Benise-Dowling & Associates Inc. to repair and repaint the Forakis sculpture, returning it to its original, vibrant “Sunrise Red.”^[60], ^[61]

CID board member Kent Walker noted that the restoration of the Gateway was symbolic of the district’s efforts to return Fulton Industrial Boulevard to its stature as a catalyst for economic development.^[62] Building on the momentum of the Gateway’s restoration, the CID commissioned a brand new signature sculpture in 2019 to mark the completion of a $1.8 million interchange improvement project at Interstate 20 and Fulton Industrial Boulevard. Atlanta-based artist David Landis created “Stella Nova” (New Star), a striking modern piece designed to welcome a new generation of visitors to the district.^[63], ^[64] While the original thirty-piece open-air museum was lost to corporate liquidation, the preservation of the Gateway and the commissioning of new works ensure that the intersection of heavy industry and public art remains a defining feature of the corridor.

Related Reading:

• The Concrete Corridor: A History of the Fulton Industrial District
• 1,800 Years Before Atlanta: The Sandtown Village and Trail

Footnotes & Citations (Click to Expand)

Citations:

1. John Howett, “Reflections on the Tragedy of the Great Southwest Industrial Park,” ART PAPERS, Issue 5.05 (September-October, 1981): 6, quoted in Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
2. Local History Book Snippet, detailing the Pope and Carter Company real estate transaction, circa 1960s. ↑
3. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
4. Local History Book Snippet, detailing the Pope and Carter Company real estate transaction, circa 1960s. ↑
5. Local History Book Snippet, detailing the Pope and Carter Company real estate transaction, circa 1960s. ↑
6. Local History Book Snippet, detailing the Pope and Carter Company real estate transaction, circa 1960s. ↑
7. Local History Book Snippet, detailing the Pope and Carter Company real estate transaction, circa 1960s. ↑
8. Ann Carter, “Outdoor Sculpture Museum to Open,” The Atlanta Journal, July 21, 1968, 128. ↑
9. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
10. Jarred Schenke, “Last Piece of Fulton Industrial Artwork Saved,” Bisnow, April 16, 2015. ↑
11. Catherine Fox, “Artworks’ Neglect Is Monumental,” The Atlanta Constitution, November 13, 1981, 1B. ↑
12. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
13. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
14. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
15. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
16. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
17. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
18. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
19. Christopher Andreae, “Art and industry: Atlanta’s sculpture park,” The Christian Science Monitor, November 18, 1968, 10. ↑
20. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
21. “The Great Southwest Projects,” New York Magazine, March 10, 1969. ↑
22. Ann Carter, “Art a Happening In Incongruities,” The Atlanta Constitution, November 3, 1968, 27. ↑
23. “Lighting The Way,” The Atlanta Journal, November 5, 1968, 14. ↑
24. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
25. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
26. Ann Carter, “Art a Happening In Incongruities,” The Atlanta Constitution, November 3, 1968, 27. ↑
27. Paul R. Anderson, “Atlanta Sculpture Provides Children ‘Feeling of Power’,” The Atlanta Journal, November 23, 1969, 26. ↑
28. Dorothy Dehner, “Plexiglas Relief for the Great Southwest Industrial Park, Atlanta, Georgia, U.S.A.,” Leonardo 2, no. 2 (April 1969): 171, 173. ↑
29. Dorothy Dehner, “Plexiglas Relief for the Great Southwest Industrial Park, Atlanta, Georgia, U.S.A.,” Leonardo 2, no. 2 (1969): 171, quoted in Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
30. Catherine Fox, “Artworks’ Neglect Is Monumental,” The Atlanta Constitution, November 13, 1981, 1B. ↑
31. Ann Carter, “Georgians’ Sculpture Considered,” The Atlanta Journal, August 4, 1968, 21. ↑
32. Paul H. Anderson, “Viewer Can Rearrange Sculpture,” The State Journal, November 23, 1969, A-14. ↑
33. “Earth Sculpture Shown on Slides,” The Atlanta Constitution, December 29, 1968, 92. ↑
34. “Pianist Frager, Symphony To Perform Bartok Work / SCULPTURE TODAY LIKENED TO ZEN,” The Atlanta Journal, December 8, 1968, 133. ↑
35. Paul R. Anderson, “Atlanta Sculpture Provides Children ‘Feeling of Power’,” The Atlanta Journal, November 23, 1969, 26. ↑
36. Jarred Schenke, “Last Piece of Fulton Industrial Artwork Saved,” Bisnow, April 16, 2015. ↑
37. Gateway Advertisement, The Atlanta Constitution, October 27, 1968, 67. ↑
38. Photograph Caption, The Atlanta Journal, November 1, 1968, 77. ↑
39. “Orange Color on Sculpture Makes Artist See Red,” The Atlanta Journal and the Atlanta Constitution, July 16, 1967, 14F. ↑
40. Sallye Salter, “Use of Sculpture Grows,” The Atlanta Constitution, December 8, 1970, 43. ↑
41. Bill Hughes, “Partnership Deal Offered on 6 Flags,” The Atlanta Journal, October 14, 1968, 59. ↑
42. Jim Montgomery, “Six Flags Sold For 23 Million,” The Atlanta Journal, January 1, 1969, 49. ↑
43. Jan Nugent Pearce, “Non-Railroad Activities Cited in Penn Central Fall,” The Atlanta Journal, November 2, 1970, 15-D. ↑
44. “Four Sued by Great Southwest,” The Atlanta Constitution, December 1, 1970, 6C. ↑
45. Sallye Salter, “Industrial Park Is Due New Life,” The Atlanta Constitution, March 16, 1971, 5D. ↑
46. Tom Walker, “Industrial Park Sold in Fulton,” The Atlanta Journal, October 19, 1970, 56. ↑
47. Catherine Fox, “Park,” The Atlanta Constitution, November 13, 1981, 2B. ↑
48. Catherine Fox, “Artworks’ Neglect Is Monumental,” The Atlanta Constitution, November 13, 1981, 1B. ↑
49. Beverly Barnes, “20 Sculptures to Get Facelifts, New Sites,” The Atlanta Journal, March 25, 1982, 195. ↑
50. Beverly Barnes, “20 Sculptures to Get Facelifts, New Sites,” The Atlanta Journal, March 25, 1982, 195. ↑
51. Beverly Barnes, “20 Sculptures to Get Facelifts, New Sites,” The Atlanta Journal, March 25, 1982, 195. ↑
52. Catherine Fox, “Park,” The Atlanta Constitution, November 13, 1981, 2B. ↑
53. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
54. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
55. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
56. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
57. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
58. Chris Fite-Wassilak, “Dead Ends,” Art Papers, July/August 2015. ↑
59. Jarred Schenke, “Last Piece of Fulton Industrial Artwork Saved,” Bisnow, April 16, 2015. ↑
60. Dave Williams, “Fulton Industrial CID restores historic sculpture,” Atlanta Business Chronicle, May 21, 2015. ↑
61. Jarred Schenke, “Last Piece of Fulton Industrial Artwork Saved,” Bisnow, April 16, 2015. ↑
62. Jarred Schenke, “Last Piece of Fulton Industrial Artwork Saved,” Bisnow, April 16, 2015. ↑
63. Boulevard CID, “New Sculpture Defines District’s Time and Space,” Press Release. ↑
64. Fulton Industrial Community Improvement District, “Stella Nova Sculpture,” accessed July 28, 2026. ↑

Comprehensive Bibliography (Click to Expand)

• Anderson, Paul H. “Viewer Can Rearrange Sculpture.” The State Journal, November 23, 1969.
• Anderson, Paul R. “Atlanta Sculpture Provides Children ‘Feeling of Power’.” The Atlanta Journal, November 23, 1969.
• Andreae, Christopher. “Art and industry: Atlanta’s sculpture park.” The Christian Science Monitor, November 18, 1968.
• Barnes, Beverly. “20 Sculptures to Get Facelifts, New Sites.” The Atlanta Journal, March 25, 1982.
• Boulevard CID. “New Sculpture Defines District’s Time and Space.” Press Release.
• Bratton, Chris. “Update: The Great Southwest Industrial Park Sculpture.” ART PAPERS, Issue 6.02 (January-February, 1982): 13.
• Carter, Ann. “Art a Happening In Incongruities.” The Atlanta Constitution, November 3, 1968.
• Carter, Ann. “Georgians’ Sculpture Considered.” The Atlanta Journal, August 4, 1968.
• Carter, Ann. “New Form on Drawing Board–But What Is It?” The Atlanta Constitution, November 24, 1968.
• Carter, Ann. “Outdoor Sculpture Museum to Open.” The Atlanta Journal, July 21, 1968.
• Carter, Ann. “Sculpture Park To Open Nov. 1, 2.” The Atlanta Journal, October 21, 1968.
• Dehner, Dorothy. “Plexiglas Relief for the Great Southwest Industrial Park, Atlanta, Georgia, U.S.A.” Leonardo, MIT Press, Vol. 2, No. 2 (1969): 171-173.
• Fite-Wassilak, Chris. “Dead Ends.” Art Papers, July/August 2015.
• Fox, Catherine. “Artworks’ Neglect Is Monumental.” The Atlanta Constitution, November 13, 1981.
• Fox, Catherine. “Park.” The Atlanta Constitution, November 13, 1981.
• Fulton Industrial Community Improvement District. “Gateway Sculpture.” Accessed July 28, 2026.
• Fulton Industrial Community Improvement District. “Stella Nova Sculpture.” Accessed July 28, 2026.
• Gallery 98. “John Gibson Gallery: The Early Years.” Exhibition Archives.
• Great Southwest Industrial Park Plat Map. Featuring Great Southwest Parkway, Drake Drive, and Colgate Drive.
• Hammock, Richard. “Industry, Recreation to Be in Vast Project.” The Atlanta Journal, August 17, 1965.
• Howett, John. “Reflections on the Tragedy of the Great Southwest Industrial Park.” ART PAPERS, Issue 5.05 (September-October, 1981): 6.
• John Gibson Gallery. “The Great Southwest Projects” Exhibition Announcement Card, 1969.
• Local History Book Snippet. Detailing the Pope and Carter Company real estate transaction, circa 1960s.
• Moore, Charles. “5 Million Tract Sold for Industry Complex.” The Atlanta Constitution, August 17, 1965.
• Neighbor Newspapers. “District restores Fulton Industrial gateway sculpture.” May 18, 2015.
• New York Magazine. “The Great Southwest Projects.” March 10, 1969.
• Pearce, Jan Nugent. “Non-Railroad Activities Cited in Penn Central Fall.” The Atlanta Journal, November 2, 1970.
• Salter, Sallye. “Industrial Park Is Due New Life.” The Atlanta Constitution, March 16, 1971.
• Salter, Sallye. “Use of Sculpture Grows.” The Atlanta Constitution, December 8, 1970.
• Schenke, Jarred. “Last Piece of Fulton Industrial Artwork Saved.” Bisnow, April 16, 2015.
• Selig Enterprises. “Fulton Industrial CID restores historic sculpture.” September 27, 2016.
• The Atlanta Constitution. “Earth Sculpture Shown on Slides.” December 29, 1968.
• The Atlanta Constitution. “Four Sued by Great Southwest.” December 1, 1970.
• The Atlanta Constitution. “Gateway Advertisement.” October 27, 1968.
• The Atlanta Journal and the Atlanta Constitution. “Orange Color on Sculpture Makes Artist See Red.” July 16, 1967.
• The Atlanta Journal. “Business, Arts Bolstering Ties.” November 22, 1969.
• The Atlanta Journal. “Lighting The Way.” November 5, 1968.
• The Atlanta Journal. “Pianist Frager, Symphony To Perform Bartok Work / SCULPTURE TODAY LIKENED TO ZEN.” December 8, 1968.
• The Atlanta Journal. Photograph Caption. November 1, 1968.
• The Times Recorder. “‘Plaything’ Weighs 2 1/2 Tons.” December 15, 1969.
• WABE 90.1 FM. “Sculpture Restoration Boosts Fulton Industrial Art Revival.” May 20, 2015.
• Walker, Tom. “Industrial Park Sold in Fulton.” The Atlanta Journal, October 19, 1970.
• Walker, Tom. “Industrial Park to Roll Again.” The Atlanta Journal, March 18, 1971.
• Williams, Dave. “Fulton Industrial CID restores historic sculpture.” Atlanta Business Chronicle, May 21, 2015.