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from that. The...thé spontaneous things are so great. Like the...the dark horse program at the theatre rally which they put over on us, you know, and nobody knew that they were arranging the program until it happened. 

Leo: Yes. 

Ques: And one of the fantastic things about Bob is this way he can suddenly...improvise something...

Leo: Well, a good example of that we had when Miro was here. He expressed the wish...he had seen Bob, Bob's, Rauschenberg's work in Paris back in 1960, I believe it was. A show at Gordier's. And was...went on showing interest in what was being done in America, (unlike so many other painters, European and American, who really don't follow what's going on here -- are just involved with their [[/ strikethrough]] own work -- even very great ones) and Miro showed a lively interest about what other people were doing, especially Americans. So he expressed, as I say, interest in seeing what Bob was doing. He was told that there were those theatre-dance performances of his; could he see one. So Bob immediately said yes, of course. He would organize something in his studio which is very vast and lends itself to a performance of this type. And he didn't want any...anybody to be there; no persons, no public except those that would be there by accident, and then of course Miro and Bill Lieberman who was accompanying him. And what he did there was on of