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AFTER A FEW SENTENCES, CAMER MOVES TO THE MAN WITH GUITAR, OR SUBSTITUTE PIECE, AND MR. LIPCHITZ CONTINUES O.S.
AT CONCLUSION OF MR. LIPCHITZ'S REMARKS, CAMERA FOLLOWS HOST AND MR. LIPCHITZ TOWARDS THE NEXT PIECE. IT SHOULD BE THE HARP PLAYER, 1928 (COLLECTION OF MRS. T. CATESBY JONES, N.Y., POSSIBLE TO BE INCLUDED IN GERSON GALLERY EXHIBIT (?) ) OR AN EXAMPLE OF LIPCHITZ'S TRANSPARENT WORK.

HOST
Mr. Lipchitz-- you have written that there are two clearly defined ways in your work...One built on a solid foundation, the other a kind of lyrical expansion. Here is the Harp Player, created in 1928.

WE LOOK AT THE HARP PLAYER, IN SILENCE. ON THE APPROPRIATE RHYTHM, CUT BACK TO THE HOST AND MR. LIPCHITZ.

HOST
Does this kind of transparent, open form correspond to the second trend in your work-- 
What you call a kind of lyrical expansion?

THE QUESTION IS POSED AS A SPRINGBOARD FOR MR. LIPCHITZ TO DISCUSS THE RELATIONSHIP