Monumental and medium-sized sculptures were displayed in the landscape, complemented by stone carvings, ceramic sculptures, graphics and works on paper in the galleries. The indoor display also included models and photographs of Chillida’s great public sculptures including Comb of the Wind and Guernika.
Knowledge of the laws of structure, derived through architecture, were fundamental in Chillida’s work. The shared architectural and sculptural concerns of space, scale and volume were evident in many works in the exhibition that demanded physical involvement and interaction. They were an exploration between outer and inner space, the solid and the void. Chillida’s outdoor work dominated and consumed the space it occupied, each piece had a solidity and formidable weight.
His sculpture was also deeply connected to the culture and landscape of his native Basque region. Comb of the Wind XVII, 1990 is related to his great public work in San Sebastian, whose gigantic steels claws, embedded into the rocky coastline, provide a link between the land and the unrelenting forces of the ocean.