I’ve spent a great part of my life in the art world dealing with abstractions, both literal, formally demonstrative ones, and also conceptual examples. I started with Conceptualism, which was the main purview of my family’s gallery, and worked backwards from what represented the aesthetic and ideological norm to which I had become accustomed. This resulted in several of my first curated efforts being about painting, and in particular about how contemporary artists were reinventing the ideas of painting for a New York audience and community of artists. I started doing studio visits, a lot of them. After I became more active, I could count as many as 100 studio visits per year on my calendar.