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The production and editioning of sculpture can involve bronze casting but can also utilize other materials and methods of fabrication beyond various kinds of mold-making and casting, including more recent computer-based output processes such as rapid prototyping and three-dimensional printing.Sculpture, whether an object or an edition, may entail creation by a single artist, an artist collaborating with expert technicians and craftspeople, or an artist conceiving of a sculpture and then realizing it without direct involvement in the physicality of the production, similar to the way in which an architect designs a building but does not build it alone.The history and practice of sculpture has a complexity and variety that differs from other visual-art forms.

Before the Copyright Act, responses to this demand may have included recasting or unauthorized new casting of works.As the 1974 Statement, when adopted, pre-dated the enactment of the Copyright Act of 1976 of the United States Code (which became effective October 1, 1978), it was revised in 2012 to reflect current United States copyright law and practice.The Statement continues as a point reference for certain issues and terminology surrounding the production and reproduction of sculpture.When this is the case, authenticity and originality may no longer be relevant and, in fact, may be antithetical to the point of the art.Artists, curators, and estates concerned with asserting the authenticity of digitally created sculpture could maintain a system similar to that used for two-dimensional digital prints or the editioning of traditional prints, photographs, and sculptures whereby works are numbered with an accompanying certificate of authenticity.

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