In June 2012, Austrian artist Maria Anwander placed a stone sculpture in a Luxembourg City plaza without asking permission. She called it 'The Present,' and by morning, city workers had found it, confused and slightly alarmed.
The sculpture sat there like an abandoned piece of someone's garden. Workers reported it. The city, unsure what to do with this mysterious arrival, took it into storage. Most artists would have called it a loss. Anwander had other plans.
By forcing the city to physically possess her work, she'd engineered something unusual: the city became the owner of art it never intended to buy. The usual process—galleries curate, cities approve, budgets align—got inverted. A sculpture simply appeared, and the city had to decide what to do with an object already in its hands.
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Start Your News DetoxLuxembourg's response was unexpected. Rather than dismiss the prank, the city recognized what had happened: a genuinely clever artistic move. They officially accepted 'The Present' as a gift and eventually added it to the collection at Mudam, the modern art museum designed by I.M. Pei in the Kirchberg district.
Left to Weather
Today, 'The Present' sits in Dräi Eechelen Park, exposed to rain and frost and the slow work of time. Anwander has deliberately chosen not to restore it. The stone deteriorates visibly—cracks spreading, surface weathering—and that decay is the point. The artwork documents itself aging, turning the passage of years into the medium itself.
It's a fitting home for a sculpture born from an act of artistic disobedience. The work that forced its own acquisition now sits in public space exactly where Anwander intended, changing shape with each season, asking passersby to notice what happens when you stop preserving things and let them become themselves.
