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Visiting The Farm earlier this year, it was hard to believe that the monumental sculptures I was looking at were in New Zealand. Here were important works by major international artists—Sol LeWitt, Kenneth Snelson, Andy Goldsworthy, Daniel Buren, George Ricky, Marijke de Goey, Richard Long, Eric Orr and, of course, Serra. When I was studying art history at Auckland University in the 1980s, there were no works by international artists on view anywhere, including museums. Yes, there were impressive collections (and a rich history) of New Zealand art, but my homeland was known more for its stunning landscapes and seascapes, budding film and wine industry, rugby games and sailing than its artistic production. But while New Zealand was isolated from the rest of the contemporary art world then, that is certainly not the case now.

In one of my first meetings with Serra, in New York around 1996, I was trying to persuade him that it would be worthwhile to meet this unknown New Zealand collector I was advising—The Farm's owner, who I'd met through his daughter, my closest friend. Sheep and godwits were not part of my pitch. In a few brief minutes at a gallery opening, I had to describe to him this fantastic venture, the creation of one of the world's largest sculpture parks in an obscure location halfway around the globe. Serra looked only vaguely interested. Finally, I just gave up and said, "You two would be like two boys in a sandbox." And it worked: I organized a studio visit and a match was made.

As is the case with everyone who is invited to create work at The Farm, Serra was flown to New Zealand to live with the land and then begin concept drawings. There is always much discussion and dialogue, often with great zeal and passion, as the owner wants to push the limits and boundaries of each artist—and himself. The video artist Tony Oursler has been to The Farm twice, and is working on a four-hour projection. Sculptor Anish Kapoor is creating a large-scale work that should be completed in two years.