Of this specific sculpture, George Baker wrote,
"Nebraska Wind Sculpture" continues my concern with form in its most abstract and non-representational sense. Although my shapes or forms remain abstract, I am aware that the intuitive judgments used are a product of my own evolution, environment, dreams and private recognitions. My continuing subjects is beauty of form. I seek forms which grow and are quiescent and are possessed of sensuous life and spiritual being. These qualities allow the validity of my art. The motion pattern of the sculpture, while derived from wind velocity and its directional changes, is also controlled by careful balance relationships and internal adjustments. The aesthetic content of "Nebraska Wind Sculpture" is to be found in the movement pattern and changing relationships of the forms, the varying surface reflectivity between metal and water and the emotional interplay between the sculpture and the observer. The sculptor is represented by the sculpture--his communication is through a visual statement.1
My sculpture has in the past ten years become almost exclusively kinetic, perhaps in part because it involves not only three dimensions but also time. The precise control of its motion with a beginning and end is not unlike a musical composition. The changing patterns, both real and by shadow are comparable to the rhythmic changes, tonal variations and dynamics of music. . . . While the visual arts offer a challenge similar to that of composition I continue to feel that music is the highest art form--are they really so separated or different? I do not imply that my sculpture seeks to be compared to music or that any particular music is directly influencing a sculpture or that music should be played as the sculpture moves. . . . The elusive content of music which does inspire the shapes I use is the sublime grandeur of abstract aural relationships. These are moments which defy description. For many this experience is never felt. Regrettably this is true. Yet the ears, eyes and mind can grow--become more sensitive. I am astonished in 1978 to remember that Richard Strauss was unbearable to my ear in 1964. Perhaps the most difficult is ultimately the most important. Similarly my sculpture requires time to understand its shapes and their relations while static and in motion.2
1. Nebraska Interstate 80 Bicentennial Sculpture Corporation, Official Records, File B-B#3, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln, NE.