Had opened a gallery I already had strong connections with New York, because I was taking work on consignment from New York dealers. So I already knew a great many of the dealers and the artists here. It wasn't cold for me.

I think that Walter De Maria's Lightning Field, Michael Heizer's City, and Charles Ross's work in Star Axis New Mexico , all three will last for a millennium.

Quite honestly, even as a woman dealer, I really wasn't interested in masculinity or femininity as such. What was important to me was the value of the work itself. If a woman had come along, somebody like Lee Bontecou or Louise Nevelson, and said, "I'm working on the land," I would have gone to see it.

I remember very vividly. I was here in New York. Nancy Holt called me and - I feel unhappy thinking about it - she said that Bob Smithson had died. I said, "Oh, Nancy, what will we do without Bob?" He was a very good friend.

What's happening in the larger world always influences art. When I first started the gallery in 1959, one of the first things I learned was that most people assume artists know one thing and one thing only - that they were idiot savants. I found very quickly that most artists were very informed and very aware of what was happening in the world around them. So all of those things go together, especially for earthworks. And at that time there was such an intense interest in American art. So there was a great deal of attention paid to where it was going.

There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.

I opened with Edward Kienholz's The Beanery, and that's such a controversial piece that I think that brought people right away. It was a room-size work that one walked into. It was a bar with Kienholz-type figures sitting and drinking and talking - all life-size characters in a life-size setting. The exhibition was covered in Time, Newsweek, and Life, so it had huge recognition right away.