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could execute it, the - er it became a war service project, so my mural never got done.

Forge:  At the exhibition at Whitechapel it struck me that there is a certain break in your recent work which came around 1955 those big collage paintings of 1955 like Blue Level and Desert Moon seem in a way to indicate a completely different aspect of your mind from the more recent work.  Would you like to say anything about that change?

Krasner:  I really can't say anything because I have to deal with this.  It used to frighten me, you know, work and then this break would happen and I would have to be the first one to deal with that break and accept it, and I don't know that the next canvas I start - this same process won't go on, as through a period of years there've been that many breaks so to speak, in fact I do - I can't understand the artist who works through a period where this doesn't happen.  To me it seems a perfectly natural process, that something else will start to take over.

Forge:  Yes, but in retrospect sometimes one can see this break in a different light.  I can see - understand what you say in terms of the immediate happening - 

Krasner: That's right, which is quite terrifying when it happens.  But the advantage of a show as exists now in Whitechapel, which if the first opportuniaty I have to see a period of work from about 46 and the rewarding thing to see for me is that the break isn't quite as violent as it seems at the time it's taking place, and in that sense I think every painter should have an opportunaity to put up a ten year period of work some place so that the [[strikeout]] painert [[/strikeout]] painter can see what's taking place.  I should think it should be an automatic process, every ten, fifteen years the work to be put