I think Michael Heizer and Walter De Maria had a love-hate relationship because they both had a lot in common. But inevitably one would get more publ….

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 ima….

The gallery closed its doors in 1971. I could no longer psychologically handle the needs of 12 artists. I cared about all of them, and what was happe….

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 galle….

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….

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 e….

Making the effort is quite a pleasure in itself..

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 th….

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 ….

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 mi….

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….

I didn't know Michael Heizer until I was preparing for my "Earthworks" show in 1968, and somebody called and told me to look at his work. Heizer had ….

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. ….

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 kne….

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 wo….

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….

I think the four land artists I showed all worked within a few years of each other. And they were standard bearers, I suppose, for land art. They eac….

People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. ….