 I don't want to define it, I don't want to define feminist art, I think there are a lot of different feminisms and I think I don't understand, you know, what it is to define something. I don't want to, you know, put it in a box and into a category, it's much more interesting to me to think about the question but not to answer it. It is, has a kind of very pointed title, it's an abstraction, but it's called The Dwarfs Without Snow White. So gender was on my mind but also mixing it, bringing it into another kind of the abstraction too. So the titles were kind of a way of having my cake in India too. It was Sleeping Beauty, The Dwarfs Without Snow White, Peggy Lee and the Dalmatians. So I was definitely interested in a certain kind of narrative and politics but also was interested in how can I get the abstraction in that too. It was influenced early on by what I had seen, especially sculpture installation by women and then it was trying to, you know, make sense of it for my generation and for my interests. I had eight boxes because if Snow White got her act together, she could have a box. But at the time, you know, you had, you know, this kind of very Disney, you know, world that, you know, The Dwarfs absolutely were much more emotional and more fun. They were having a great time and in the, I just thought, you know, well just in case she became, you know, she got to be invited to the party, we'd have a box for her. But also it's like the box for Elijah, the person who is, yes, Snow White is there in spirit but The Dwarfs are definitely much more interesting. The boxes were about also their dress boxes, their garment boxes, they're the everyday boxes that you put something in. And I had also been interested and influenced by folk art. And with a hope chest, the decoration is always on the outside. And it usually does not have a kind of relationship. Yes, it could be your trousseau, is that the word? But also a lot of times it was, you know, pure decoration. I love that. So you had the decoration on the outside and empty inside. So the pieces, the decoration is random. It's what was left up to chance. It's almost like a little paint box. But also you have the kind of rigor in the geometry of Judd, minimalism. And then I'm draping a very kind of irreverent piece of, you know, crushed stretch velvet on top. And then I just opened up dye at this point, very early on in the work, random colors and just spilled it all over as if it's kind of like the emotions. So it's totally arbitrary, the order, but it has grounded by that geometry, that kind of minimalism. But it also has another different histories too. The hope chest, a paint box, Judd, all these different histories that I was thinking about kind of reacting to and reacting again. So you have the decorative and then you have the kind of structure too. It was the first piece to go in a public, of mine, to go in a public collection, which was very exciting. And it was a very important show for me because it really was work that I could say was opened up doors for the work that I'm still doing.