The immediate student community, however, does not seem as receptive to the project's aims. Dean Hatzis, a junior at UMass, looks toward the soccer field where "Huru" towers and says, "I hadn't really noticed it until you pointed it out. I think it's really ugly-at least they could paint it or something." Other passersby share these sentiments and express their puzzlement. "I don't know what it's a symbol of. It's all right looking. I haven't really noticed anything else," comments student Roberto Landivar. Christine Aller, a passing art major, comments that "Huru" is her favorite piece, though she doesn't necessarily like all the works that have been installed. Nevertheless, Aller holds that the artwork "makes the campus more attractive by adding to the gross stone and brick." The ever-quixotic Tucker insists that exposure and familiarity are essential to art appreciation, even if it means challenging people and stepping on some toes: "All novel art has always been challenging," he says. "We're the only public university in the Athens of America-if we can't shoulder public art education, then it's a shirking of responsibilities."

The professor recounts a classic tale of education-to-appreciation, involving the electricians who installed "Huru"'s spotlights. Originally frustrated by their laborious work over a "hunk of metal," the electricians, under Tucker's passionate tutelage, came to love the piece. "By the end of the night, one of the workers thought this was the coolest thing on campus," recalls Tucker. "He went into his truck to get his camera, and spent an entire roll of film on ['Huru']." Not surprisingly, the groundskeepers of UMass Boston have had some of the most profound exposure to the artwork and to Tucker's insight on it. David Lanchester, a heavy equipment operator who's been instrumental in much of the installation, agrees that the pieces liven the campus' aesthetic appeal: "Some of it is nice, but some is a little much. It breaks up the prism look of the university and makes it more livable," he says, while playfully punching the curator who's poured his heart into the project. Tucker is aglow when he hears such words of appreciation from the public-"It's all about education," he beams.

While communication and education are linchpins of progress, one meeting does not resolve all issues. The problem of undesired large pieces in public spaces still remains. Funding issues also come into play, as Arts on the Point remains a small project in terms of money and staff. All pieces are temporarily acquired through donations from foundations and individuals, the most prominent of which include Barbara Lee, The Poss-Kapor Foundation, Nancy Tieken, the LEF Foundation and the Reily Foundation. Intoxicated with his lofty ideals, Tucker shines with enthusiasm about the five pieces that await installation. Excitement, however, takes a continued backseat to local politics, as the miscommunication problem continues. Essaibi claims that the Columbia-Savin Hill Community only agreed to be part of the advisory committee: "We absolutely have not agreed to allow the installation of new pieces," she proclaims. Public art, while it is and should be held up as an ideal, remains a juggling act.