Claire Huschle in Sculpture Magazine

…Barbara Josephs Liotta’s Terrace Descent also examined the shared vocabulary of sculpture and architecture.  Over a corner facing the stairs,  Liotta used cord to suspend chunks of black marble and granite from a series of parallel metal rods.  As the rods receded into the corner, the marble and granite pieces likewise seemed to recede, resulting in an inverted “marble staircase.”   Like Davis’s piece, Liotta’s work removed all sense of functionality.  And like Luttwak, Liotta called up notions of quarries and earth movers.  But Liotta’s work also exploited the architecture of the space by incorporating motion.  As the wind swept down the stairs, Terrace Descent  shifted and twisted, despite it s apparent weight.  The work combined the kinetic experience of sculpture with the environmental experience of the space itself.