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The artist Anish Kapoor’s temporary installation at the Palace of Versailles was vandalized this weekend for the second time since June, this time covered in graffiti that included anti-Semitic slurs.

The installation, which centers on a sculpture entitled “Dirty Corner,” was defaced Saturday night, with highly offensive sentences in French scrawled on the sculpture and nearby rocks that are also part of the work.

In an interview on Sunday with the French newspaper Le Figaro, Mr. Kapoor said he was shocked by the epithets, calling the graffiti “a violent attack against the human spirit and culture.” He also posted photos of the vandalized artwork on his Instagram account, where he said: “Dirty Corner. Now a monument to intolerance. Gravestones at Versailles. I challenge the museums of the world to show this work as it is now, as it shall remain.”

He said he planned to keep the graffiti on the work, both at Versailles and when it is shown elsewhere in the future. “I challenge museums of the world from here on out to show it as it is, bearing the hate that it’s attracted,’’ he said. “It’s the challenge of art.” (The press office at the Palace of Versailles confirmed that the graffiti would remain on the work until the installation closes on Nov. 1.)

In a statement released on Monday morning, France’s culture minister, Fleur Pellerin, strongly condemned the vandalism, calling it “ignominious.” On Sunday, President François Hollande of France posted his support for the artist on Twitter, saying, “all my solidarity to Anish Kapoor, whose artwork was degraded and covered with hateful and anti-Semitic inscriptions.”

The graffiti placed on the artwork in June, which was far less extensive and included no slurs, was removed shortly after it was made.

Mr. Kapoor’s installation at Versailles has drawn controversy since its outset, in part because the artist described the work in an interview published in May in Le Journal du Dimanche as a symbol for the sexual power of the queen. Some online commentators quickly characterized the sculpture as an attack on French cultural heritage, and it earned the nickname “the queen’s vagina.” In Le Figaro, Mr. Kapoor said that the installation’s June defacing reflected “a certain intolerance that is appearing in France about art.”