There are few documentary filmmakers we like as much as Albert Maysles, who, with brother David (who passed away in 1987), created some of the most compelling non-fiction films of our time, including “Grey Gardens” and “Gimme Shelter.” The siblings have also had a longtime partnership with the artists Christo and Jean-Claude, who have trusted the brothers Maysles to document all of their large-scale art projects, from their early works in the late 1960s to their most recent Gates project in New York’s Central Park, the subject of their latest film collaboration.

“The Gates,” which premieres Feb. 26th on HBO and runs throughout the month, was over 25 years in the making. Christo and Jean-Claude first conceived of the project in 1979. The idea? Erect 7000+ saffron-colored steel gates at twelve foot intervals throughout the park’s major walkways. But trouble with permits and skeptical citizens prevented the project from getting off the ground until 2005, when NYC mayor Michael Bloomberg, a longtime fan of the project, fast tracked the installment to fruition.

Just as fascinating as the polarized public reaction to the project is the daunting process of getting such a large-scale operation moving. The eventual cost of the project was $21 million, all paid for by the artists themselves via the sale of preparatory drawings, studies and various earlier works, and the first act of the film chronicles the exhausting planning and preparation required to take The Gates from idea to reality.

The film was co-directed by Antonia Ferrera and Matthew Prinzing, and like the Maysles’ best work, the filmmakers steer clear of heavy-handed narrative, letting the film unfurl like the material atop the gates themselves. The film has no voiceover, no facts flying across the screen, just a simple, moving story that captures both the enormity of the project itself, but also how personal the work is to both its creators and viewers.

Ultimately what makes the Maysles’ films so affecting is their ability to seamlessly blend interesting moments and serene shots of the artwork in its element. The pace is languid, but so is the work of Christo and Jean-Claude. Like one thankful New Yorker points out in the film, unlike the experience of viewing art in a museum, you aren’t meant to simply gaze at The Gates for 30 seconds and then walk away. The experience works best when you let the majesty of it all simply wash over you. Which is how the film works best as well. Call it, a true art film.

See the trailer:

To get more on both the Maysles and Christo and Jean-Claude, check out “5 Films About Christo and Jean-Claude,” a superb three-disc set issued by Plexifilm in 2004. And to win an actual piece of art from The Gates, visit The Documentary Blog, who are giving away signed prints from the project.

Related: A (Not So) Complete History of Sibling Filmmakers | Plex Appeal