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December 12, 1954 
New York City
12-14

Dear Dorothy: 
A very pleasant afternoon I spent with you and Eddie, this last one before the flight to S.F. This is just to add a word about or to our discussion of your forthcoming exhibition in Paris. Specifically I refer to your generous intention to include "the" painting your Museum bought. I think you would want to know my thoughts more fully than we were able to deal with them this P.M. 

Let me put it this way: when any of my works go out "on the road" I think of them as scouts, or fighters, going out to war. For what they say is a very special matter to me, and what they can effect in establishing an area of clarity representing my purposes is a most important consideration. It is for this reason that the avoiding of confusion or ambiguity, as far as is for me possible, becomes a categorical imperative. To speak with single voice, clearly, directly, becomes, by association with other's work of differing intentions, or ends, difficult or impossible. For I am not one of a chorus, or team, or movement, or a tradition. 

You understand, therefore, that a group show of any kind, except as demonstrated by the room you so considerately gave me for the "15 Americans", is to me anathema. And that goes for the one Janis "threw" last year as well as others I have been caught in. I do not deny that my work has often been effective in group shows, but the principle of freedom and commitment is negated and vitiated in direct ratio to the number of works and motives involved. It is not that I hesitate to go to war, - I merely feel that I have responsibility to lend every possible rigor to establishing clarity where confusion is honored and exploited. 

It is apparent from the above why I have consistently declined to send works to Europe when solicited. Especially France - for many and obvious reasons. And even, or perhaps more, because of contemporaries here with whom I have nothing in common except the canvas one works on. Just because of superficial similarities does misinterpretation become more easily effected by those who have an interest in perverting. And juxtapositions compound the confusion tacitly. 

With the above statements I leave the responsibility in your hands, where it really rests anyhow, for the showing of "my" painting. I would not lend it for a group display in Europe, even if I were permitted to hang and light the work myself. 

If the above suggests that I seem to go out of my path to make things difficult for you please remember that I have honored you as friends, and no anger will follow from any decision you find you must make. Perhaps I will feel despair, or the "grip" of regret, but in fairness I had to write the above so you will know my feelings. The matter is yours from here on in. 

Yours, 

"He either fears his fates too much, or his deserts are small.  Who will not put it to the touch, to win or lose it all"

Transcription Notes:
the word "the" scratched out in 3rd paragraph, signature illegible