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The work of L.A.-based conceptual artist David Horvitz has never been easy to categorize.

The challenge of writing about “Liberation Day” is that it is so incandescently stupid it amounts to a conceptual piñata: You can whack at it from any angle and get some reward for your effort.

The working loo, entitled America, had been on display for just two days at the 18th Century stately home, plumbed in as part of an exhibition by the Italian conceptual artist Maurizio Cattelan.

A teaching opportunity at Fresno State University in the late ’60s brought him west, where he sought refuge from the unnervingly high racial tensions on the Mississippi campus and leaned more heavily into conceptual art.

The conceptual idea around this is that it’s growing out of something, as opposed to tabula rasa, a new building.