In the 1960s, the Albright-Knox wrote to a selection of artists to ask for statements about their works. Beverly Pepper responded with thoughts about her 1967 sculpture Zig-Zag:

“The attempt was to enclose space and give weight to the empty volumes, at the same time projecting the first element, cantilevering it in such a way as to make the viewer feel a movement—that something is about to happen. The polished mirror surface has two distinct uses: one is to envelop the environment so that in a certain light the sculpture appears to absorb the landscape or the landscape absorbs the sculpture. . . . The essential attempt was to have a continuity between the work and the environment, the environment and the work . . . the sequence unimportant but a sense of change and permutation essential.”

Content taken from Letters from 31 Artists to the Albright-Knox Art Gallery (Buffalo: The Buffalo Fine Arts Academy, 1970).