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Although not a Christo groupie, when I got the offer of a free place to crash on Manhattan’s Upper East Side I couldn’t resist Jet Blueing to the Big Apple to take in “The Gates.” I wasn’t the only Berkeleyite who made the pilgrimage to the Central Park saffron spectacle staged by Christo and his wife, Jeanne-Claude. In my week-long whirlwind adventure of Gates-gazing and copious noshing, I kept bumping into Berkeley folks—at the Metropolitan Museum of Art, at the Stage Deli, on Broadway and in the park itself. 

While in New York I heard mostly positive comments about “The Gates,” from natives and visiting out-of-towners alike. But, being New York City, there was of course no lack of complaining. Quite a few deplored the $20 million cost of the 7,500 gates, calling it an obscene waste of money. Others grouched that Christo had desecrated Frederick Law Olmsted’s perfect park. Then there’s the Greek cab driver who transported me and a friend from JFK airport to the City. A self-described poet and not one to mince words, he ridiculed Christo’s creation as “a bunch of shower curtains.” 

Well, sure, they were indeed that, but much, much more. 

My personal break down of “The Gates” is that they managed to be both wonderfully idiotic and surprisingly beautiful at the same time. Certainly, Christo and Jeanne-Claude deserve kudos for luring hundreds of thousands to Central Park for a huge Be-In on each of the 16 days “The Gates” stood. And the faces of those I saw parading under the orange arches were almost always happy ones. “The Gates” began to be dismantled yesterday (Monday). 

“The Gates” also worked in other ways. Just the thought of the colossal chutzpah it took for Christo and Jeanne-Claude to conceive of and actually pull off their insane idea had me chuckling more than once. And whether you loved or hated “The Gates,” they compelled you to think and talk about the meaning and function of art. My lefty buddies, in particular, should be grateful they gave us something less depressing to discuss besides the daily horrors of the Bush reign. 

On yet a further level, by colorfully highlighting the contours of the park paths, “The Gates” forced you to appreciate Olmstead’s grand design from a unique perspective. This was especially true after the park was covered by snowfall, producing stunning white and bright orange contrasts. And watching a procession of “The Gates” when a gust of wind got their fabrics flapping in unison or catching a glimpse of saffron through the leafless tree branches was really neat. 

In addition, “The Gates” were a tremendous financial success. Entrepreneurial geniuses as much as artists, Christo and Jeanne-Claude earned back the millions they personally fronted to pay for their cost by selling the sketches and plans for the project to collectors. So, essentially, the rich guys who bought their stuff paid for the whole deal. Plus, all the substantial profits from sales of hats, T-shirts, post cards, posters, books and assorted memorabilia will go to support the Central Park Conservancy and other local parks. It’s also been estimated “The Gates” will bring in close to $100 million in extra tourist dollars to the New York City, a windfall for hotels, restaurants and retailers, not to mention the chauffeurs of the famed Central Park horse-drawn carriages. 

Given my favorable impression of “The Gates,” I’ll definitely make an effort to check out Christo and Jeanne-Claude’s next artistic enterprise. And, hey, since they have loads of Berkeley fans, maybe we can convince them that following Central Park, People’s Park is the natural choice. 

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