Pollok made most of his painting on canvas rather than on the wall, and this was to make them more portable. Most of his works were a mixture of controllable and uncontrollable factors1. Lynda Benglis on her part is an American sculptor and visual artist majorly known for her wax painting and poured latex sculptures. She also used drip style to make her works. She was a professional photographer as she had studied artwork at a college. Given that most of her works were sensual in nature, they were ignored for a long time.
Given that Pollok paintings were made on canvas rather than on walls, which is common. His paintings were or portable and could easily move to the museum. This work is significant and, therefore, can be easily seen by those visiting the place. Their placement on the wall at points that it could be viewed easily by people of all heights since it’s not too high or too low. A group of viewers can as well look at it at the same as it is large and full2. Pollok believed that the size of his works had a direct relationship with how and to what extent viewers and he would bond and be part of the painting. Lynda Benglis, on the other hand, made a sculpture that could not be hanging but place on a flat surface for viewing. Her sculpture is smaller compared to the paintings of Pollok. It is only visible to a keen viewer who had the intention of looking for this particular artwork in the gallery. The location of Benglis’ sculpture Batt puts it out of sight and away from other artistic works with which they fall into the same category. The disadvantage to the painter and the lovers of their works as it takes longer to locate them thus according to them with little or no publicity.