Opponents countered that, because the sculpture forced the site to function as an extension of the sculpture, it was in effect "holding the site hostage." Calvin Tomkins, an art critic for "The New Yorker" magazine, was quoted saying, "I think it is perfectly legitimate to question whether public spaces and public funds are the right context for work that appeals to so few people – no matter how far it advances the concept of sculpture." Sociologist Nathan Glazer, writing in "The Public Interest", declared that Serra was “attacking the awful by increasing the awfulness. To the misery of working in an ugly and poorly designed building, it was Serra’s thought to add additional misery in the form of a sculpture that was ugly to most people… that obstructed the plaza, that offered no space to sit on, that blocked sun and view, and made the plaza unusable even for those moments of freedom when the weather permitted office workers to eat their lunch outside.” The Storefront for Art and Architecture invited prominent NYC artists and architects to envision the future plaza as a protest in "After Tilted Arc".