The Gates are now closed. The people have left, and New York is once again as it was before artists and spouses Christo and Jeanne-Claude descended upon Central Park.

Unveiled on Feb. 12 and taken down on Feb. 17, The Gates were not large monstrosities of overpowering awe or an attempt to convey a shocking message; their exhibits rarely serve such purpose. Instead the art is meant to be experienced by anybody, on a human-scale, according to Christo and Jeanne-Claude’s Web site.

Although some observers may have been disappointed in the size of each gate, the exhibit as a whole was far more impressive and breathtaking.

Almost like streams, all along the snow-covered terrain of Central Park were paths of 7,500 bright orange gates. Made of a weather-resistant fabric attached to steel frames, standing 16 feet high, the project had been in the works since 1979. All funds came directly from the artists, who never accept donations or unpaid volunteers.

Since the mid-60s, Christo and Jeanne-Claude have brought temporary large-scale exhibits to the masses. In 1991, thousands of solid orange and blue umbrellas dotted landscapes in Northern California and Tokyo.

Some have wrongly classified their work as “wrapping” because in Europe they covered entire buildings and statues with fabric. But the work is much more than mere “wrapping.”

So then, what was the purpose of these “orange curtains”?

Christo and Jeanne-Claude were interviewed in the park by a local FOX affiliate, who asked if the exhibit was a statement on foreign politics or war.

“No, no,” said Jeanne-Claude. “We do not talk about politics, money or religion.”

Exactly. The work is art – simply and beautifully so.

Or, as their press release stated, the work reflects its environment. The linear grid pattern of the city blocks surrounding Central Park was mirrored in the structure of the “commanding saffron colored vinyl poles,” and the flowing curves of the walkways, arching hills and trees are reflected in the constant movements of the fabric in the wind.

The purpose and meaning of art, such as Christo and Jeanne-Claude’s, is different for everyone – a comment often made about art. But this art is subjective, not only for the artist, but the viewers as well.

It’s interesting to think about the thousands of people who walked through The Gates, each of their individual experiences, each of their individual lives. The experience even depended on the day. While weekdays were quiet and solemn, weekends were more reminiscent of a theme park in summertime.

Along with these outside factors, the streamlined design left room for so many interpretations that anyone could have an artistic opinion.

Even so, the color choice seemed to be the main question. One New York cab driver said he thought it would be more visually appealing to have many colors, not just orange. Perhaps the orange is a warning or danger sign of humans’ interference in the environment. Some viewers pointed out that orange was the same color as the robes of Buddhist monks.

It should be noted that Jeanne-Claude’s hair color was ironically similar to The Gates’ color. Those closest to the couple, however, have said that the tangerine shade is their favorite color.

Then the true question is: Which came first, Jeanne-Claude’s hair color or the couple’s preference for bright orange?

For the thousands of people who traveled across the continent or globally to the city, The Gates were more than “orange curtains.” They understood its power to bring people into the moment and aware of their surroundings. These “pilgrims,” as they call themselves, appreciate the subtleties of Christo and Jeanne-Claude’s works. So now that The Gates are taken down and being recycled, the “pilgrims” look ahead to the next project Over The River, involving the Arkansas River and, of course, fabric.

Naomi King can be reached at [email protected].