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- 2 - things had changed. Forge: But were you in any way involved with the strong sort of social tendencies of American art during the thirties? I mean, the W.P.A. Krasner: Oh yes. I was a member of the W.P.A. as were not all artists, but a great number of them were on W.P.A. and I was very much involved with that - very much. Forge: And did the involvement with the W.P.A. affect your aesthetic in any way? Krasner: To a degree it did, as the work that was called for didn't quite line up with what I was interested in. On the W.P.A. an order for work - murals easel painting to be placed in public buildings. Someone from the public buildings had to designate what kind of art they wanted. Needless to say it moved a little away from my own interests in art. Nevertheless, its validity I would never deny. It kept a group of painters alive through a very difficult period. Forge: But you were faced with this problem of reconciling your interest in avant garde art with a function which was available to the general public. Krasner: But one dealt with it. For instance I was asked to execute murals done by other artists, and after doing quite afew of them they weren't my paintings but it had to be done and then I said I would do it provided I finally got my own mural to do. Now I believe there was just one place that was accepting abstract murals and they - the administration said fair enough, if you complete this next eighty nine feet of the history of navigation you will have your own, and indeed I did get it, only before I