Rail: Could you describe the shift from
using random accumulations of ephemeral materials (from what I've seen in reproductions), such as nylon stapled onto the wall, grease,
beeswax and graphite, applied with rather agitated and all - over scribbling, and the more calming repetition of fingerprints, all of which were included in «Anti-Illusion,» then there was a dramatic progression that took place in your
next two one - person shows at Paula Cooper, in 1970 and 1972?