Brüggemann’s work employs a quotational methodology that links it to aesthetic movements and objects from the classic period of Modernism, in particular to Minimal and Conceptual art. Outdoor Sculpture references Minimal artist Donald Judd’s Donald Judd Pivot Doors installed at the Chinati Foundation in Marfa, Texas. The floor-to-ceiling quartered design - employed also in the windows at the foundation - are a recognizable trademark of Judd’s.
While Judd’s wooden doors are functional, in that they close one space of from another, Brüggemann’s 1:1 scaled replica is clad in stainless steel and is intended for outdoor installation. By siting it in a landscape, Brüggemann removes the binary of inner and outer. The altered context thus presents the work with a new set of coordinates in which the opposition between interior and exterior space is replaced by circularity, as the door spins freely on its pivot. Moreover, it may be also be read in in reference to Marcel Duchamp’s seminal Porte, 11 Rue Larrey (1927), a door hinged precisely in the corner between two openings placed at 90 degrees, resulting in the doors being simultaneously open and closed.