I've never been a big fan of public sculpture. It's usually too clunky and macho-metallic. There are a few exceptions.
But yesterday afternoon two prime examples of the least appealing (to me) kind of sculpture got a lot more interesting. They're probably getting a "treatment" of some sort, but somehow, these softened macho monoliths are much more satisfying.
Left and below: Anthony Caro, Monsoon Drift, 1975
Right: Ellsworth Kelly, Untitled, 1986