The 1960s were a transformative decade for Christo and Jeanne-Claude, marking the beginning of their collaborative partnership and the development of their signature large-scale environmental installations. This period saw them transition from smaller wrapped objects to ambitious outdoor projects that engaged with urban and natural environments, laying the groundwork for their future monumental works. Early Collaborations and Wrapped Objects (1960-1964): Christo continued his practice of wrapping everyday objects, but now with the added support and collaboration of Jeanne-Claude. These works included wrapped bottles, cans, furniture, and even entire shop windows. One notable project from this period is "Wrapped Cans" (1960), which exemplified their interest in transforming mundane items into art by concealing their forms with fabric and rope. The wrapping process invited viewers to see these objects anew, focusing on the texture and shape created by the coverings rather than the objects themselves (The Art Story) (Artland Magazine). Iron Curtain - Wall of Oil Barrels (1962): One of their first significant public installations, this project involved stacking 89 oil barrels to block a narrow street in Paris as a protest against the Berlin Wall. This early example of their environmental and political engagement transformed a public space and drew attention to contemporary geopolitical issues. The installation lasted only a few hours before it was dismantled by police, but it marked a pivotal moment in their career, showcasing their willingness to engage with controversial and provocative themes (Wikipedia) (Artland Magazine). "Wrapped Coast" (1969): This project was one of the most ambitious undertakings of the 1960s and marked Christo and Jeanne-Claude’s first large-scale environmental installation. Located at Little Bay, Sydney, Australia, "Wrapped Coast" involved wrapping a 2.5-kilometer stretch of coastline with 1 million square feet of erosion-control fabric and 35 miles of rope. This project required a team of over 100 workers and highlighted the duo's ability to orchestrate complex logistical operations. The installation transformed the natural landscape, inviting viewers to experience the familiar coastal environment in an entirely new way (Wikipedia) (Artland Magazine). Gallery Exhibitions and Preparatory Works: During the 1960s, Christo and Jeanne-Claude also held several gallery exhibitions that showcased their preparatory sketches, drawings, and smaller wrapped objects. These exhibitions were crucial in securing financial backing for their larger projects and provided insight into their meticulous planning process. For example, their 1963 exhibition at Galerie Haro Lauhus in Cologne displayed wrapped items and preparatory drawings for future projects, helping to build anticipation and support for their work (The Art Story) (Artland Magazine). "Package" and "Wrapped Statue" (1961-1964): These works were part of a series where Christo wrapped everyday objects and public statues in fabric. "Package" involved wrapping a large box in canvas and tying it with rope, transforming it into a mysterious and sculptural form. "Wrapped Statue," executed in Milan in 1964, involved wrapping a public monument, further developing their theme of altering familiar objects and spaces to provoke new interpretations and dialogues (Wikipedia) (The Art Story). The 1960s were a foundational decade for Christo and Jeanne-Claude, characterized by experimentation, bold public installations, and the development of their collaborative process. Their work during this period laid the conceptual and technical foundations for their later monumental projects, establishing them as pioneers of environmental and conceptual art.