Imagine a masterpiece, lost for decades, only to be rediscovered in a dusty basement and restored to its former glory. That’s exactly what happened to a rare sculpture by the legendary artist Harry Bertoia, now proudly hanging in the atrium of Detroit’s new Hudson’s/General Motors headquarters. But here’s where it gets controversial: Was this a stroke of luck, or does it reveal a deeper issue about how we preserve art in public spaces? Let’s dive in.
The story begins in 1970 when Bertoia created this striking mid-century piece for Flint’s Genesee Valley Center. The sculpture featured two massive ‘clouds’ of brazed metal rods, dubbed ‘sunlit straw,’ suspended in the mall’s multistory court. And this is the part most people miss: After the mall’s renovation in 1980, the artwork vanished from public view, seemingly lost to time. Fast forward to 2017, when it was found in a derelict state in the basement of Southfield’s Northland Mall. General Motors stepped in, acquired the piece, and enlisted Michigan-based conservation specialists to restore it to its original splendor.
Now, the sculpture hangs in the atrium of the Hudson’s site, a space perfectly suited to its size and scale. But the journey wasn’t easy. Natalie Morath, GM’s lead archivist and curator, described it as ‘a labor of love’ involving countless people. ‘Handling a sculpture of that size, especially one stored underground for years, is no small feat,’ she explained. When first discovered, the piece was in two separate, mangled sections, looking more like a ‘crazy mess of metal rods’ than a Bertoia masterpiece. Yet, with the help of Celia Bertoia, the artist’s daughter and head of the Bertoia Foundation, its identity was confirmed, and restoration began.
Here’s where opinions might differ: GM initially considered placing the sculpture at its Technical Center campus in Warren, already home to another Bertoia piece. However, its sheer size made it impractical. When the Hudson’s project emerged, with its expansive atrium, it felt like destiny. But not everyone was convinced. Construction teams had to ‘unzip’ the building’s side to move the sculpture in, a feat Morath calls ‘a team effort.’ Yet, some might argue whether such lengths should be taken for a single artwork—a question worth debating.
For Morath, the acquisition is a source of pride. ‘At GM, we’re stewards of incredible art,’ she said, citing pieces like Alexander Calder’s water ballet and Charles Scheeler’s painting of GM innovations. This Bertoia sculpture, commissioned by J.L. Hudson, ties together Detroit’s art, design, and architectural legacy. ‘It’s almost too good to be true,’ Morath added.
Celia Bertoia echoed the sentiment, calling the sculpture ‘very important.’ Created in collaboration with Victor Gruen Associates and Louis Redstone Associates, it was originally hung from a single point—a feat given its likely one-ton weight. When she received photos of the piece in 2017, it was bent and unrecognizable. ‘It was a wonderful surprise,’ she said, praising GM’s restoration efforts. Now, she hopes other lost Bertoia sculptures will resurface.
But here’s the thought-provoking question: As we celebrate this rediscovery, should we also reevaluate how we protect and preserve public art? What other masterpieces might be gathering dust in forgotten corners? Share your thoughts in the comments—let’s keep the conversation going.
