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many portraits of Lucus Samars, were produced in the open air in the dunes surrounding the shack.

By the 1970's her work was bold and confident. Self portraiture was always an interest. Marcia considered herself a handy subject. Other distinctive subjects were male nudes, interesting clothing and landscapes both lush and austere. Male nudes were perhaps encouraged by the art collector Walter K. Guttman who once complained that there were no "really good paintings of penisis".

Clothing design, being well dressed and well made garments from the past fascinated her. Perhaps because of her fathers connection to the clothing industry or Marcias love of the glamourous movies of her childhood. Interesting and vintage clothing draped many of the models in her portraits. The 'trouble' of being a woman was being openly discussed in the 1970's. However, Marcia never considered herself a 'female' painter, as she preferred to be thought of as a "Painter. Period.". The introduction of Ms. as a title and a magazine, the ERA, Roe v Wade, all had her support.

Clearly the social ideas if not ideals for a 1970's woman - being confident, sexy, hard working, and career minded dovetailed nicely as Marcias career gained momentum. At the same time because she had been actively exhibiting for almost 20 years the 'Women's Art Movement' of the 1970's held very little interest for her.

In the early 1970's Marcia began to supplement her income as a painter with teaching jobs, normally working under the title "visiting professor" with master level MFA students. Marcias teaching style was to encourage careful observation of the subject, commitment to the vision and hard work. Commitment, hard work as well as innate talent. Although Marcia enjoyed lecturing she felt no one could teach,[[strikethrough]] and [[strikethrough]] she did not believe in harsh editing and was horrified by people who destroyed their work.

Marcias mother died in 1985 and left a nice sum of money (roughly 50k)[note] 11 that unfortunately was invested in such a way that most of it evaporated in the financial crisis of 1987. In 1988 at 60 Marcias began to have financial issues. The landscape of the Art market was very different, Marcias work was increasingly odd and her collectors, mentors, friends and colleagues were retiring and dying.

Grandchildren arrived in the 1980's and 90's. Creating a focus for her affections. Marcia began per diam teaching in the NYC public schools and then a series of retail jobs when the energy needed for large groups of children was overwhelming.-Marcia took some classes and tried to learn to use a computer for drawing, writing and communicating professionally but she never crossed into the digital age.

Marcia stopped painting in oils in 1999, partly due to physical limitation and discomfort when standing as she always painted standing up. Lack of sales and the resulting inability to buy