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wherever an artist feels like living. That place doesn't have to be [[strikethrough]] in [[/strikethrough]] an [[strikethrough]] particular [[/strikethrough]] art center. [[strikethrough]] ...In any case I think [[/strikethrough]] This kind of art is being transported [[strikethrough]] at the moment bh [[/strikethrough]] now by the artist himself, as well as by still tentative information [[strikethrough]] systems [[/strikethrough]] networks, such as mail, catalogs, telecopier, [[strikethrough]] etc. [[/strikethrough]] TV, radio, etc.... [[strikethrough]] artists' intentions can sometimes be transported by mail or by printed catalogue as easily as in an art magazine.[[/strikethrough]] The artist is traveling a lot more. [[strikethrough]] I'm not articulating as....[[/strikethrough]] The reason New York is the center is because of the stimulus - the bar and the studio [[strikethrough]] and the [[/strikethrough]] dialogue, [[strikethrough]] and the things that make it a center because of the stimulus. [[/strikethrough]] I don't think there is any question about that, and even if we get the art works out of New York, even if the objects do travel, [[strikethrough]] it still doesn't [[/strikethrough]] the objects alone don't provide the stimulus, that the milieu does. [[strikethrough]] the objects alone, except in a greater concentration than they can be transported, this doesn't really do it. [[/strikethrough]] But when the artists start [[strikethrough]] traveling, and[[/strikethrough]] moving around a great deal more, then the artist provides his own stimulus. I'm sure when, say, Carl Andre goes some place, he leaves a tremendous residue of [[strikethrough]] stimulus and so on [[/strikethrough]] interest. He's a wonderful talker. [[strikethrough]] And most of these guys do. Even if they're [[/strikethrough]] Many artists are, even when they can't write. Whether liked or disliked, [[strikethrough]] it [[/strikethrough]] in Omaha doesn't make much difference. The imp [[important]] thing is they have exposed artists and students and public there to new ideas & not, hopefully, by lecturing, but by talking directly to people. & less formal situations. And it seems to me a lot of the money that is spent on [[strikethrough]] putting [[/strikethrough]] sending fragile objects around to get banged up could be spent on getting the artists around [[strikethrough]] even for periods of time, to work [[?]]. and consequently centers would spring up all over the place. Even [[/strikethrough]] Universities could even do something like [[strikethrough]] that on a sort of [[/strikethrough]] a wandering scholar program, where the students would wander around and [[strikethrough]] , [[/strikethrough]] instead of dragging an artist out of his habitat into a university set-up which is foreign to him, the artist could be paid (maybe by the gov., or a common pool) to have sort of open house for a [[strikethrough]] month [[/strikethrough]] period of time per year, and [[strikethrough]] the [[/strikethrough]] any student could [[strikethrough]] literally sort of [[/strikethrough]] camp on his doorstep, you know, and talk to him and see him working. [[strikethrough]] And [[/strikethrough]] He could have open hours in the studio. Reinhardt was great that way. He never seemed to turn anyone away. [[strikethrough]] But [[/strikethrough]] The student could move around and choose the artists he wanted to approach and maybe work with [[strikethrough]] and approach [[/strikethrough]]. [[strikethrough]] There [[/strikethrough]]