Making the effort is quite a pleasure in itself.

People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.

Making the effort is quite a pleasure in itself.

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 remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked the person sitting at the gallery desk where these works were - where in France they could be found. She looked at me in horror as if I'd asked something completely insane. She said, "Well, of course, these works don't actually exist. They're concepts."

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 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.