Placing these site-specific sculptures within the museum setting does not necessarily bring them a “newly charged meaning,” as the museum’s press release suggests (though it certainly grants them broader recognition and a larger audience), but rather makes an argument for them remaining in the desert, where they can more aptly express their post-apocalyptic vision—they resemble structures abandoned abruptly by humans. (The assemblages will be returned to the desert following their temporary installation at LACMA.) However, there are also works on view that are less dependent on their environment and therefore easier to recontextualize. In particular, Sir Watts II (1996), a regal disembowelment consisting of a knight’s torso armor, its stomach cut open to reveal a computer motherboard rendered functionless, stands out on a pedestal at the entrance to the desert sculptures, as if guarding the works. The surprisingly charming figure wears a silver cap over its head, obscuring its face as it greets visitors.