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stopped painting is just nonsensical. He actually never was involved with painting per se; he was always involved with something else.

Ques: Let me ask you another question now. I'd like to get away from what we've been talking about. You mentioned the Biennale and what happened there. How do you feel about that? How do you feel about what Rauschenberg winning the prize at the Biennale, being the first American to do this, meant? For him, for American painting, for the things that you're involved in?

Leo: Well as you know, as well as I do, it was a moment of great shock when he got the prize, which was felt in this whole world, favorably and unfavorably. The strange thing is that [[strikethrough]] eg [[strikethrough]] even here in America where everybody should have been very proud about it, there was a feeling of disbelief and [[strikethrough]] s [[/strikethrough]] dismay practically at this having happened. Maybe quite understandable really because nobody here had ever thought that...one went to Venice in order to compete for a prize. That was...the prize was really perhaps reserved for...only for...squabbling younger Italian or other European artists, or for great masters. So that a young man [[strikethrough]] y [[/strikethrough]] should get it was...was a surprise. I think that after the...storm died down it had a considerable...had considerable repercussions here on our, or at least not on our attitude in general but on the attitude toward American painting on the part of many, many people...who perhaps for the first time realized that there was a younger school here after abstract

Transcription Notes:
There are a few parts where the typewriter messed up and used a cross mark to cross it out; I wasn't sure if I should just omit these or not. I put a (?) in these spots.