我们所看到的拉斯维加斯大道，更广泛地被称为“世界著名的拉斯维加斯赌场地带”。在2000年的新年，对其工业的前身,揭示了工业资本主义信息和经验的胜利。来自世界金融市场数十亿美元已经形成了一个长期的赌场，并且从此照亮整个星空。这个后现代景象, 在光明与黑暗中，它将空间和形式相结合，将周围照的光亮,在旁观者眼里, 这是其中一个最大的私人投资公共艺术展览。它没有产生任何有形货物的意义,然而每年却产生数十亿美元的收入。这是二十一世纪的第一个城市，欲望满足的资本，本能取代克制，一个社会的未来，是好还是坏，一个已经不可思议，甚至前一代的形式。在1990年代,拉斯维加斯进入了自己的时代,这标志着它已经成为和美国其他大都市并驾齐驱的都市，但它以独特的生产的方式产生的利润多于世界上的其它任何城市。
　　在新年前夜开放幻想的十二年里,1988-1989,带钢已经成为一个从时间和空间上被包裹在幻想世界的世界级的娱乐中心。黄金曼德勒海湾南端,封土堆卢克索,仿中世纪的城堡和人造石中剑大饭店结合出带有假特殊印象的历史。宏大的MGM建筑发出的绿色辉光和喧闹的纽约,纽约自由女神的优雅,空气中的臂力在某种程度上比原始的还要积极，在生活上提供给美国人，在重铸的规模和类型上保持了迪斯尼的风格，但有些许诺是更美妙的。在中间的地带的拉斯维加斯,充满了巴黎艾菲尔铁塔的气氛,一个半岛,一个Como 湖以及其伴随着音乐舞动流入空中的喷泉,展现了欧洲和它的文化,正如美国人所希望的一样。
　　根植于罗伯特·路易斯·史蒂文森的故事，幻影的火山岛和《金银岛》的计时战斗，在一艘海盗船和英国海军之间提供富于想象力的幻想。凯撒宫,最知名的游戏品牌，它的隐性承诺是要给每个男人和女人一个凯撒,给公众角斗士和Cleopatras,以及威尼斯的小船,标志着最新的赔偿请求以及不愿在战争中成为公众中心的领导者。这些小城邦、相互联系的小王国,完全独立战争和为客户经营,以他们自己的逻辑奋进。他们有共同的目的,赚钱提供娱乐,而是他们以不同的方式追求这一目标。在探索的年代对抗商业竞争中，带钢结合所提供过去、现在、高级，低级信息和文化,在这个城市很长的街道的所有空间。它提供了一个美妙的,不真实的,但同时有形的,可以购买的世界。这是令人难以置信的一件事，因为时间掌握在你的手中。这是美国全新的一年。
　　译文：
　　Las Vegas introduction
　　A look down Las Vegas Boulevard, more widely known as the "World Famous Las Vegas Strip," on New Year's 2000, revealed the triumph of post-industrial capitalism, information and experience, over its industrial predecessor. Billions of dollars from the world financial markets had been fashioned into a long line of casinos lit against the night sky. This post-modern spectacle, this combination of space and form in light and dark that owed nothing to its surroundings and left meaning in the eye of the beholder, is one of the largest private investments in public art anywhere. It produced no tangible goods of any significance, yet generated billions of dollars annually in revenue. Here was the first city of twenty-first century, the place where desire met capital, where instinct replaced restraint, where the future of a society, for better and worse, took a form that had been inconceivable even a generation before. In the 1990s, Las Vegas had come into its own, had become a city on par with other American metropolises in its significance, but that generated its profit in a different way than any other city on earth.
　　In the twelve years since the opening of the Mirage on New Year's Eve, 1988-1989, the Strip had become a world class center of entertainment encased in a fantasyland portrayal of time and space. The golden Mandalay Bay at the southern tip, the pyramid-shaped Luxor, and the faux Medieval castles of the Excalibur melded fake history with an impression of the exotic. The green glow of the MGM Grand and the raucous architecture of New York, New York, graced by the Statute of Liberty, arm thrust in the air somehow more aggressively than in the original, offered American life recast on a scale and style that reminded of Disney but promised something entirely more fantastic. In the middle of the Strip, Paris Las Vegas, replete with the Eiffel Tower, and the Bellagio, a little Lake Como with its orchestrated fountains dancing water into the air to an array of stunning music, presented Europe and its cultures as Americans wish they were. The Mirage's volcano and Treasure Island's hourly battle between a pirate ship and the British Navy offered imaginative fantasy rooted in the stories of Robert Louis Stevenson. Caesars Palace, gaming's most recognizable brand with its tacit promise to make every man and woman a Caesar, gave the public gladiators and Cleopatras, and the Venetian's gondolas marked the newest claimant to the throne of preeminence in the war for the heart of the visiting public. These little city-states, interrelated little kingdoms, entirely self-contained and at war for customers, run by their own logic. They share a purpose, making money by providing pleasure, but they pursue this objective in varying ways. Against the backdrop of commercial competition from the Age of Exploration, the Strip combined to offer the past, the present, high, low, and nobrow culture, all in the space of one long city street. It offered a world both fantastic and unreal, yet simultaneously tangible and available to purchase. Here was the unbelievable made temporal, to be held in your hands. Here was America in the new millennium.