Sonia Delaunay-Terk, Rhythme Couleur (1961)
“I picked many of the works in the show because they influence me or my work. But it can also go the other way, and I find that’s even more interesting. We hung a
in a room with my sculptures. This is a case where I made her work turn into looking like my work, and that’s because artists are a kind of global community: The age and the period and the society are all fluid; there’s a seamless continuity.
“In a way, I did choose this to help people see my work, but I also chose it because I’m trying to reveal something about Delaunay’s work. How you hang an artwork—an inch up, or a quarter of an inch, you center it, or you don’t center it—can make it come alive. One of my side jobs is helping dead artists, because they’re dead! I’m going to be dead one day and I hope somebody will help my work, too.”