 Well, I define feminist art as images and visualizations and actions which readdress the suppression, the marginalization, and the denigration of works made by women for, for me for over a thousand years, that's the repression that I've been addressing. And that's the degree of disappearance that has always engaged me. So feminist art is the compensation and the revitalization of being able to look at the variousness and richness of the history and the contemporary work of womenaries. The physical action into your role began as a dream drawing between waking and sleeping, that sensitive aesthetic space where I woke up with an image of a woman, her leg up, extracting a scroll from her vagina, and there's a little statement with it, like a comic book that said, interior knowledge. So I drew this very roughly on a piece of paper and wondered, well, I'm not sure what this means, so I put it away. And the next thing I knew when I was folding these strips of paper from origami and then I was figuring out, well, how could I insert and make it a very smooth, elegant strip of information so the original dream of information we're from within, knowledge from within, could manifest itself. So I was doing that and my sweetheart was helping me with typing these little three words or statement across the text and with a special family recipe, discovering how to put a thin strip of text so that it would be a smooth extraction without breaking up or fumbling or fading away. So there is a recipe secret. Anyway, without wanting to do it, I suddenly found myself on some kind of trail, I was covering myself with local mud, on a table standing in front of the feminist audience, which was mixed with men and women. And I had no position to scroll. And I began the statement and reading it as an extraction. So, so, so, so. I didn't know what it meant, I didn't know if this was significant, the audience was kind of stunned. But some men came up to me and said, this has helped me so much. I finally understand the ticker tape, it was a Wall Street banker. I understand my ticker tape. The woman said, I understand the birth connection, but other people were enraged and confused and said, this is just playing into old male fantasies. As usual with my work, I was not sure, but gradually I began to think, yeah, this did enter a taboo and forbidden area where information about the body entered. It was like a second concept of speaking and that we needed this interiority as a spoken concept. For better or worse, the representation in broken is only one frozen image. So it's not really about the process or the text that provoked the imagery. And so I think it's hard to understand the full dynamic of the work, just looking at that one extracted image, which is one of the problems of our cultures that we get one reference, rather than the more subtle conceptual risks and uncertainty around it. As an artist, I have to be happy that at least one work is in this museum collection. But also as an artist, I'm discomfited that it's not deeper in this context. Well, the information that I wanted to bring forward on this role, which involved very painstaking typing of a little scroll, three words across, because I wanted it to be delicate and comfortable to extract. So the message, I had two messages. One was trying to be prepared. It's an early recording from this statement, be prepared to be misunderstood, to be moved off, to have all your work refused and denigrated. And then the second statement, which is the one that's known with this role, was, I met a happy man, a structural filmmaker. But don't call me that, it's something else I do. This was positive on the fact that a very important woman film historian had written about other women's films, but had never written about mine. And that was always distressing. Finally, we were at a conference together, I thought, now she's really going to have to see my film on a schedule in the morning, and she will attend. As soon as my films were over, the door opened, and the film historian entered. She had missed my films once again, so in behind me, in a row behind me were graduate students. I turned around, I said, What do you think? I'm so upset. Here she is. She hasn't seen my films yet again. And they said there are certain films you cannot look at. The anti-sensibility, the lyristic indulgence, the painterly mess. So all those statements in the scroll were from the graduate students of a woman historian who had never looked at my films.