has this value, although it shows up even better in later Maysles films about the art. The project, which was completed in 1972, consisted of bright orange fabric extended between two Rifle Gap Colorado mountain slopes on wires, and dropped down toward the ground like a curtain. "Running Fence," which came four years later (and took that long to prepare and fund and get permission for), was a longer -- much longer, over 24 miles -- extension of somewhat the same thing, a fabric "curtain" (even though it was called "fence"), but only 18 feet high, and over rolling semi-barren hills. This first Maysles Christo film is only 28 minutes long. It focuses on the ticklish few days when the "curtain" went up. The engineers or roustabouts -- as usual with the Maysles, there's no voiceover or titles -- are up there, and there isn't any horde of temp laborers involved, like the 300 my sister and I were to join with in the final stage of "Running Fence." At Rifle Gap, Maysles cameraman is up there with them, as well as on a golf course, and off in another direction, providing a view. We don't see crowds this time. What we see is a dangerous, ticklish, nerve-wracking project involving a crew of construction people, and engineer, and camp followers. And they are all very tired and excited. yells one worker, and " exclaims another when it's up. The Maysles capture how thrilled people involved in "Valley Curtain" are, and awed at Christo's imagination and boldness at thinking up such an idea. Wind made it tricky to unfurl the curtain, and 28 hours after it was up, "gale made it necessary to start the removal," the artist website says. This is a pungent and unusual little film. There had not been one like it before. This is the most "hardware"-focused of the Maysles Christo films: it focuses very much on the final physical execution phase of the project. However it does show Christo constantly drawing, drawing, drawing projections of "Valley Curtain" back at their home in New York: this film crosses back and forth between times, preview stage and execution stage. Christo is a tireless draftsman, and his drawings not only provide the income for the projects by selling them to museums and collectors, but are his accurate imagining of what the project will look like. In one sequence Christo says "It's just like the drawing!" And they always are.