Classy, indeed.

If anything, SAM has far too much contemporary crap by local artists. That's not really what SAM should be about, in my opinion. I know that 99% of the contempo stuff they bring in makes my blood boil, like the thing that looks like an incorrectly-assembled IKEA desk with the string and Scotch tape everywhere and the ream of paper sitting on it. Or the one with the string coming out of holes in a canvas that isn't aligned properly (what is it with string?) These "installations" look inept to me -- conceptual art bereft of concept. I could go on. I love SAM but that stuff ain't why.

Was it an act of protest?

that's interesting; I didn't see this as an act of protest whatsoever, nor do I feel this indicates that people involved with the project have a "beef" with the institution ...it was an offering and I agree with Todd that it was a lovely gesture for SAM to allow the phone booth to sit outside over the holiday season.

that said, I'd think the institution would find value in preserving/holding onto a snapshot of Seattle's art history. this phone booth is a beautiful and broad cross section of work that is going on in Seattle by artists from all corners of the art world, not just the obvious ones. I'm sad that even though SAM might not see how the installation fits into its current collection (not saying I understand how not), they don't see the value in holding onto something [for the future] that documents a moment in time so well.

it's salt in the wound to suggest that they would be happy to take the cash, though. stay classy SAM? :/

Truly a win-win. I saw the installation this past weekend and loved it and certainly not view it as any sort of protest.

@7, I think you're right, but I guess I don't think of that as being SAM's job, really. They are institutional. The thinking vs. blood-boiling problem has little to do with SAM and everything to do with my continually intensifying contempt for American culture. I know there are young American artists doing interesting work that I'm not seeing, but I'm just not interested -- too many other things to look at. I feel like the music producer Joe Boyd, who has said he no longer goes to see WPSEs (white people singing in English).

I'm bleeding out of the ears in anticipation of the Australian Aboriginal art exhibit SAM is bringing in May, though.

I still miss the ball & chain that was added to the hammering man.

Accepting it would welcome a deluge of similar uncurated material expecting equal acceptance.

I drove by the phone booth an hour ago and there was literally a line to get in. I think artist and museum handled the whole thing in a very human way.