 I think that the real impact that feminist thinking had on, certainly on me, was that it gave me a way to think about materials, gave me a way to think about how to relate materials from my daily life to a kind of political position, to understand what wearing a certain kind of t-shirt might mean as a political act. And so the piece that is in the current show for me is about the way that children are trained in kinds of gender and racial identity from a very early age, not only by their parents but by the society around them, and how that is both sort of funny and frightening simultaneously. The pieces made up of t-shirts that I have found at various thrift stores and then are sewn together into this sort of toddler's bunny suit, they are attached to a wire so it is a little bit of a long leash that the person is on and there are all t-shirts that are really kind of adult in their theme and are sort of referred to a kind of almost heart-drinking kind of rebel rock and roll lifestyle. And I think it is kind of the collision between the sort of roughness of those shirts and then the sort of sweetness of the form is for me the description of a kind of emotional state that is both rebellious and nervous and frightened at the same time. That was one of the things that was most exciting about seeing that those first generations of feminist work was that there were ways of living and being in the world that were liberating, that were people no longer had to apologize for their own existence. And that to me is the crucial lesson of the politics of that time that people tend to think about the notion of the personal as political as a kind of naval gazing or turning inward. But in reality it is about being able to argue for the validity of any of our existence, any one of us as individuals, and the importance and power of occupying the center stage of our own lives. So to me that is a crucial lesson from the work of that time and one that I am really grateful for.