But if The Gates had never been actually produced, it would never have become a fully realized cultural good. Go back to the diagnostic questions we asked in chapter one and imagine asking them of The Gates in the year 1999 when it was just a collection of sketches, proposals and maps, along with further ideas found only in the artists’ imaginations and conversations. What does The Gates, circa 1999, assume about the way the world is? What does it assume about the way the world ought to be? We could