Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for sale. But we had very few buyers. I think it was Michael Heizer who said that the point was to have a bigger canvas, and I've used that expression quite a bit. But I was thinking today that a canvas has boundaries; it has limit to it. And for earthwork, it was the very openness and feeling that there were no boundaries that made it so exciting.

I myself had lived in the San Fernando Valley many years ago, when it was a much wilder place, and we used to go walking in the wild areas. So that early experience had a lot of similarities for me to the places that Double Negative was being done.

I enjoyed cross-country road trips. And I found the work challenging because it was art that existed on the land rather than mere concepts in a gallery or photographic documentation, or any of the paraphernalia that can be used to indicate that. The art was on the land.

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.

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.