My Library

For this failure I first blamed my technique, my vision. But many said that my work had definite merit, including the then leading art editor at The New York Times, who sent back my photos with the comment that my works were conceptually stunning. In March of 1967, I chanced to meet a somewhat noted art historian at a very large cocktail party. I told him my tale of woe in this regard, and he proved amenable to coming to my studio to view my work. He came, he saw, he considered -- on 9 April, to be exact -- a day I’ll never forget. He was in process of doing an anthology of contemporary art at the time. He said: "I really wish I could include your work in it -- but I can’t. My reputation would be wrecked if I did." Here was one of those beating around some kind of bush things. So I gave him more wine and asked him to "Please just tell me what you really mean." So he did. And I quote! "The problem has nothing to do with your paintings. It’s that you are not a Marxist." He, himself, was a Marxist, and he offered to introduce me to the inner clique of New York ones which had powerful lines into the Art Establishment. I explained to him that even if I wanted to be a Marxist, which I didn’t, I couldn’t be one. I would never have passed the character and morals security checks the US government imposed on American citizens hoping to gain employment at the United Nations. Additionally, all international civil servants (as UN employees were called), were required NOT to have political feelings, ideas, relationships or standards -- and if they did were required never to voice them. The United Nations was an international forum. Those of