Ferrari made Planet shortly after he went into exile in Brazil (1976–91) and three years after the disappearance of his son Ariel. Much of his earlier work was stridently political, but in Brazil he explored more formal, even utopic, ideas. The thin wires he used to construct Planet make it seem as delicate as a dust mote or a dandelion blossom, and I have often wondered if this sense of fragility was meant as a metaphor for the precariousness of life.

Glenn D. Lowry, Director, The Museum of Modern Art