A term originally applied to the hanging or arranging of artwork for exhibition. However, in the 1970s, primarily in the United States, the term has taken on a modernist meaning referencing site-specific artwork, meaning an arrangement of objects intended for a specific place. Often this type of installation is composed of many items that create a message-bearing environment. Late 20th-century artists involved in the movement include Mathew Barney, Nayland Blake, Christian Boltanski, Walter De Maria, Chris Burden and Kiki Smith. Source: Robert Atkins, "Art Speak"<br><br>A mode of work in which art elements (sculptural or otherwise) are installed in a location, either responding to the site itself (called site-specific installation) or not.<br><br> A type of art, usually sculptural, which is often large enough to fill an entire space, such as a gallery, and consists of a number and variety of components. Installation art perhaps began in the 1960&#39;s with Ed Kienholz and George Segal, two American sculptors. Ed Kienholz&#39; work contains such elements as cars and institutional furniture (suggesting a state hospital or prison), with the content being death and serious societal issues. Segal&#39;s work, in contrast, consists of lifesize plaster figures (cast from real people and usually white), engaged in contemporary and mundane activities, such as adding letters to a movie marquee or waiting for the subway, and often represent the poetry of the mundane. Installation art is often site-specific, meaning that it is created specifically for a certain site. There are many contemporary artists creating installations, such as Judy Pfaff.