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 …

- Virginia Dwan

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…

- Virginia Dwan

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…

- Virginia Dwan

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…

- Virginia Dwan

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…

- Virginia Dwan

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…

- Virginia Dwan

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 …

- Virginia Dwan

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…

- Virginia Dwan

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…

- Virginia Dwan