This publication accompanies an exhibition, A Moving World, in Tate St. Ives 2002, which integrates many of the themes of Richard Long's art, text and photo works from Cornwall to Bolivia, together with three newly installed monumental works using Cornish slate, china clay and River Avon mud.
In his essay, Paul Moorhouse comments on Long's approach, asserting that impermanence is a central and intangible essence of his work, and the traces of his passing through the landscape, using his body both as a measure of walking or trying to make an intervention in the natural order of things, are evident everywhere in his art.