Nauman’s room in the exhibition Door beeldhouwers gemaakt (Made by Sculptors, 1978) was a kind of mini-retrospective. For the organizers, Stedelijk curators Rini Dippel and Geert van Beijeren, Nauman occupied a central position within the sculptural art of the 1970s. They considered, in particular, the blurring of boundaries between different media (sculpture, film, photography) and the use of the artist’s own body to be determining factors in the sculptural art of that time. The curators showed twelve works by Nauman, mainly from the museum’s own collection, including My Name… and various videos, films, prints, and photographs from the period 1966–1978. In the 1970s, the Stedelijk had, in addition to the smaller neon EAT-DEATH (1972), primarily acquired audiovisual works by Nauman, probably to reinforce the international collection of time-based media, which was built up from an early date and was unique in Europe. However, acquisitions of important three-dimensional works, like those made by institutions such as the Museum Boijmans Van Beuningen (Double Steel Cage Piece, 1974), the Rijksmuseum Kröller-Müller (Untitled, 1978), the Van Abbemuseum, and later the Haags Gemeentemuseum, were not made by the Stedelijk, not by Edy de Wilde and not even when Wim Beeren was the director of the Stedelijk Museum, from 1985 to 1993. Nauman did, though, take part in the group exhibitions ’60-’80 (1982), with Corridor with Life Image and Taped Image (1970), and Energieën (Energies, 1990), which included Clown Torture.