Sari Dienes: A Life In Art

Curated and narrated by Barbara Pollitt, Edited by Adrian Hayman, Music by Rip Hayman

Sari Dienes Foundation 2021

Luminaries of Rockland County virtual series Rockland Center for the Arts

Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship and research.



Sari Dienes: Who I Am?!



Additional Images:

1-20, pages 74-77


Additional Images:

Figures 21-36, pages 80-83

    1. Richard Raderman, Sari Dienes:Empress of the Sands of Reason: (film, 1987).
    2. German dealer Reinhard Onnasch opened his eponymous gallery in New York City in the fall of 1973 at 139 Spring Street. Robert Watts’ Fluxyear/ Gemini/ 74/Part 1; an extending work for audience took place on February 15, 1974.
    3. For days we built an environment, covering all the windows to make a black box interior, affixing four quadrant zones on the floor, and devising a room out of taped sheets of industrial paper separating the back room from the anteroom. Inside the environment were galvanized tubs, smudge pots, a wooden drop ceiling to which later Bob would affix icicles he had been collecting that winter and stored in sawdust. Only a small vertical gap in the brown paper created an access door to the room of the happening. I was to stand guard in front of the door so that no one was allowed into the space until the appropriate time. A large crowd gathered and, on cue, four guides ushered the viewers into the dark space and silently instructed them to sit on the floor. Then cotton wicks soaked in methanol were unfurled and lit to a pale blue flame in the darkness. The audience cowered together in the silence listening to the dripping of mammoth icicles melting into galvanized buckets. It was over when the ice melted.
    4. Robert Berlind, “Art and Old Age,” interview with Sari Dienes, Art Journal Vol. 53, No. 1 (Spring 1994), pp. 38-39, JSTOR.
    5. Zoltan P. Dienes, Memoirs of a Maverick Mathematician ©(1999) p. 21.
    6. Richard Raderman, Sari Dienes: Empress of the Sands of Reason: (film, 1987).
    7. Cited on her application to Yaddo in 1953 Sari Dienes Archive.
    8. Sari Dienes Retrospective, Catalogue, ©Thorpe Intermedia Gallery, 1986. pp. 11-13.
    9. Richard Raderman, Sari Dienes:Empress of the Sands of Reason: (film, 1987).

  1. The European exiles deeply affected and shifted every sector of American society including anthropology (Claude Levi-Strauss), architecture ( Walter Gropius, Frederick Kiesler, Mies van der Rohe), art history (Henri Focillon,Erwin Panofsky, John Rewald, Leo Steinberg), cinema (Alfred Hitchcock, Siegfried Kracauer, Fritz Lang, Peter Lorre, Robert Siodmak, Douglas Sirk, Billy Wilder, William Wyler), linguistics (Roman Jakobson), literature (W.H. Auden, Bertold Brecht, Thomas Mann, Franz Werfel), music (Bela Bartok, Paul Hindemuth, Arnold Schoenberg, Igor Stravinsky, Kurt Weill, Stefan Wolpe), painting (Leonora Carrington, Marcel Duchamp, Jimmy Ernst, Max Ernst, Gordon Onslow Ford, Fernand Leger, Laszlo Moholy Nagy, Piet Mondrian, Kurt Seligmann), sculpture (Jacques Lipschitz, Alexander Archipenko) philosophy (Theodor W. Adorno, Ernst Bloch, Ernst Cassirer, Jacques Maritain) political theory (Hannah Arendt, Herbert Marcuse and Leo Strauss), psychology (Erich Fromm Max Wertheimer) and physics (Enrico Fermi, Albert Einstein).
  2. Berlind, “Art and Old Age,” pp. 38-39.
  3. (1942-44) VVV. VVV was first published in June 1942. The magazine was published and edited by David Hare in collaboration with Marcel Duchamp, André Breton, and Max Ernst. VVV’s editorial board also enlisted a number of associated thinkers and artists.
  4. Information from her application to Yaddo, 1953. Sari Dienes Archive.
  5. One of the most important recent theses on Dienes is by Kate Zeller, Making Her Mark: Sari Dienes and her Street Rubbings in 1950s New York (Chicago: SAIC). (Dienes’ library also contained the book Le Bouddhism: Ses Doctrines et Ses Mêthodes, by Alexandra David-Neel (Paris: Librarie Plon, 1936.)
  6. Alan W. Watts, The Spirit of Zen (New York: Grove Press, 1958), p. 17.
  7. Richard Raderman, Sari Dienes:Empress of the Sands of Reason: (film, 1987).
  8. Berlind, “Art and Old Age,” p. 38.
  9. Joan Arbeiter, “Chance and Change in the Art of Sari Dienes,” Woman’s Art Journal 7 (1987).
  10. Dec 7-21, 1942. Reviewed in Sari Dienes. Art News 41 (January 1, 1943): 30.
  11. Howard Devree, ”Brief Comment on Some Recently Opened Shows—Contemporary Sculpture,” New York Times, Nov.5, 1944. Adolph Gottlieb and Parsons herself were included in this exhibit.
  12. The building was constructed in 1879 as artists’ apartments.
  14. Sari Dienes: A Life in Art, 2021 film by Barbara Pollitt and Adrian Hayman: Sari Dienes Foundation.
  15. Advertisement for classes. “Art Notes,” New York Times, April 29, 1945.
  16. Zeller, Making Her Mark. Johnson was only at the Art Student league in the spring of 1946 and the summer of 1947.
  17. Dienes befriended many Atelier 17 members and exhibited her prints regularly with the studio at the Laurel Gallery, Peretz Johnnes Bookshop and Gallery, Milwaukee-Downer College, and Highfield Gallery.
  18. Flight I (1949) in four states, Green Waves (1949) and Lovers (1949).
  19. “Sari Dienes,” Art News 47 (April 1948): 63. Abstractions at Carlebach Gallery, drawings and paintings.
    Carlebach opened his New York gallery in 1939.
  20. The Laurel Gallery existed from 1946 to 1950. Fourteenth Exhibition of Prints by Members of the Atelier 17 Group, 1949, March 14 – April 1, 1949. Laurel Gallery (New York : Wittenborn, Schultz, ©1949).
  21. Established in 1915, The Print Club was one of the most important venues for the promotion of printing in America. In 1943 Hayter’s Laocoon won the Philadelphia Prize at the Print Club and he subsequently conducted master classes there. See Christina Weyl, Networks of Abstraction: Postwar Printmaking and Women Artists of Atelier 17,
  22. In the early 1940s Parsons ran a small art gallery in the Wakefield Bookshop on 64 East 55th St. In 1944, she left the Wakefield Gallery to work at the Mortimer Brandt Gallery on East 57th Street. Her own gallery opened 2 years later in the same location.
  23. Mary Gabriel, Ninth Street Women (New York: Little Brown and Company 2018), p. 395. Zen also had a big influence on the Beat writers such as Kerouac.
  24. Magic Show, April 20 – May 20, 1950, at Perspectives Gallery, 34 E 51st Street, New York, with surrealists
    Victor Brauner, Alexander Calder, Julio De Diego, Enrico Donati, Marcel Duchamp, Stanley Hayter, Fredric Karoly, Man Ray, Robert Motherwell, Isamu Noguchi, and Kurt Seligman.
  25. Gabriel, Ninth Street Women, p. 553. Dienes’ exhibit took place at Parsons 11 months before Lee Krasner’s first show there.
  26. Ben Heller, Art Digest Vol. 25 (November 15, 1950), p. 22 and “Sari Dienes at the Parsons gallery in New York City,” from. B.H. ( Ben Heller) ARTnews; November 1950, Vol. 49 Issue 7, pp. 68-69.
  27. Archives of American Art Betty Parsons papers box 40 AAA_parsbett_1052193.
  29. The works were priced from $150 to $900. After expenses Dienes netted only $25.08. Considering inflation, this would be less than $228 today.
  30. Betty Parsons, “Letter of Support to the Huntington Hartford Foundation,” January 20, 1952.
  31. Roberta Smith, “Sari Dienes, 93, Artist Devoted to the Value of the Found Object,” New York Times, May 28, 1992, p. D22.
  32. Leo Castelli interviewed by Rip Hayman, 1989, Sari Dienes, 1950-1970, Edizione Conzi.
  33. Fire! was performed at the Lincoln Hall Theater for the Festival of Contemporary Arts, University of Illinois at Urbana. (April 2-5). Born in Vienna, Gregor immigrated to the United States the same year as Dienes. He worked as a senior editor for the Macmillan Company and founded the department of Creative Writing and Publishing Studies at Hofstra University. A photograph of the model set for production was printed in
    ART News, March 1952.
  34. Archives of American Art Oral Interview of Suzi Gablik.
  35. Archives of American Art Oral Interview of Suzi Gablik.
  36. Berlind, “Art and Old Age,” p. 38.
  37. ­Dr. Mildred Pollner, Garbage Art, New York, Cinema Verite International, Inc. 1993.
  38. Arthur Gregor, A Longing in the Land Memoir of a Quest (New York: Schocken Books, 1983) p. 203.
  39. Gregor, ibid., p. 205.
  40. Louis Menand, The Free World: Art and Thought in the Cold War (New York: Farrar, Straus and Giroux), p. 268. Perhaps quite appropriate for an artist painting targets.
  41. Sari Dienes and M. C. Richards, “Sari Dienes: Unconventional Use of Print Techniques,” Craft Horizons 16, no. 2 (March 1956): 36.
  42. Zeller, Making Her Mark, Yaddo Artist Residency Records, Sari Dienes File: Mss10955, New York Public Library Archives, 9. It is acknowledged that Dienes herself is quoted as claiming 1952 as the year of her Yaddo residency and rubbing beginnings, but she recalled this in an interview from 1956, three years after attending Yaddo when she would have been 58 years old. Given the written documents from Yaddo records confirming the 1953 dates, it is likely that Dienes may have misremembered the exact dates of her residency.
  43. Webril is a strong non-woven synthetic fabric made by the Kendall company of London used for the inside of medical casts and hospital gowns.
  44. Sari Dienes and M. C. Richards, “Sari Dienes: Unconventional Use of Print Techniques,” Craft Horizons 16, no. 2 (March 1956): p. 37.
  45. Leo Steinberg, “Reflections on the State of Criticism,” Artforum (March, 1972).
  46. See Lea Vergine, Il Corpo come linguaggio: (la Body-art e storie simili) (Milan: G. Prearo, 1974). American examples include works by Vito Acconci, Neke Carson, Colette, Yayoi Kusama, Carolee Schneemann, and Hannah Wilke.
  47. To which the interviewer tellingly reacted, “Sari who?”; quoted in Edward Plunkett, “Send Letters, Postcards, Drawings and Objects,” Art Journal, Spring (1977), 234.
  48. Barbara Rose, An Interview with Robert Rauschenberg (New York: Vintage Books, 1987), p. 47.
  49. Jasper Johns, letter to Barbara Pollitt, June 1, 2011. erika Mosier questions how Dienes transported her cumbersome rubbings with wet printers ink. She would have had to have help to carry them flat.
  50. Jasper Johns, quoted in: Barbaralee Diamonstein Spielvogel, Inside the Art World: Conversations with Barbaralee Diamonstein (New York: Rizzoli, 1994), reprinted in Kirk Varnedoe (ed.), Jasper Johns: Writings, Sketchbook Notes, Interviews (New York: The Museum of Modern Art, 1996), p. 294.
  51. John Wilcock, Dienes quoted in “Boulevard Beachcomber,” Village Voice, February 15, 1956, p. 2.
  52. Named for Sam Foster, the son of the company’s founder, the name reverted back to the original name, Badger Iron Works, in 1952. Thus, plates with this code can only date from 1929 to 1952.
  53. Zeller, Making her Mark, p. 53.
  54. Sari Dienes: A Life in Art 2021 film by Barbara Pollitt and Adrian Hayman: Sari Dienes Foundation.
  55. Zeller, Making Her Mark. Enso meaning circle is a sacred symbol in Zen Buddhism.p.63.
  56. Commemorative church rubbings date back to the Victorian era in England. Ira Henry Freeman, “Capturing Images of the Past,” New York Times, May 28, 1989, Section 5, p. 20. The interest in America’s colonial past occurred at the same time that Dienes became an American citizen in 1954.
  57. Webril is a strong non-woven synthetic fabric made by the Kendall company of London, used for the inside of medical casts and hospital gowns.
  58. Sari Dienes archive photo #A50_067 verso, signed Jack Lenor Larsen.
  59. Archives of American Art, Betty Parsons papers box 40 AAA_parsbett_1052192.
  60. Barnett Newman often used rollers to make a flat non-expressionist surface.
  61. Sari Dienes: April 20 to May 8, 1954, Betty Parsons Gallery R. L. G, ARTnews Vol. 53, Issue 3 (May 1954),
    p 43, 1954 exhibition of abstract prints by Sari Dienes at the New York City-based Parsons.
  62. Sari Dienes: November 26-December 16; Parker Tyler, “Sari Dienes,” ARTnews, December 1955.
  63. Arthur Gregor, “Rollers in the Street: A Sequel,” Industrial Design, March, 1959.
  64. Life magazine, “Art: Tombstone Tracery,” November 15, 1954, vol. 37, No. 20, pp. 133-136;
    photographs by T. Walter Sanders.
  65. See James Steel Smith, “Art in the Mass Circulation Magazines,” College Art Journal, Vol. 17, No. 4, 1958 (Summer), p. 423, Stable URL:
  66. Menand, The Free World p. 560. The readership of Life magazine was 5.6 million. Though once dismissed for its lowbrow content, Life magazine had an important impact on American culture which is becoming increasingly recognized. For example, the first time Rauschenberg’s work appeared in print was in Life magazine, “Speaking of Difficulties,” April 9, 1951.
  67. Life, November 15, 1954, p. 134.
  68. James Melchiorre, “Trinity Tombstone Tracings: The Art of Sari Dienes,” Trinity Church, August 12, 2021,
  69. Kirk Varnedoe, Jasper Johns: A Retrospective. New York: Museum of Modern Art, 1996-97. p. 94-95
  71. Moma Highlights: 375 Works from the Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
  72. Robert Frank and Jack Kerouac, The Americans (Göttingen, Germany: Steidl, 1958). In this book the jingoistic American flag also casts a pall, and in the Frank and Alfred Leslie’s film Pull My Daisy (1959).
  73. He was referring here to Dienes’ Sherwood Studio loft at 58 West 57th Street.
  74. Rose, An Interview with Robert Rauschenberg.
  75. Bonwit Teller’s flagship uptown building at Fifth Avenue and 56th Street was within a block of Dienes’ loft, where Trump Tower now stands. Bonwit’s owner, Walter Hoving was also the chairman of Tiffany’s from 1955 to 1980. Hoving hired Gene Moore for window display in 1955 to design the windows for both stores. Moore hired Rauschenberg and Johns for window dressers, an occupation restricted to men ostensibly for the safety of women at night when the displays were installed. A collaborative Matson Jones cyanotype for a 1955 Bergdorf Goodman window display went on auction at Christies in December 2, 2020.
  76. Samantha Friedman, Associate Curator, Department of Drawings and Prints, Erika Mosier, Conservator,
    The Museum of Modern Art
  77. Martha Edelheit. Hats, Bottles and Bones, film, 1976, Sari Dienes Archive.
  78. Lawrence Campbell, Guests. ARTnews, October 1955. Eight invited artists participated in a group show at Perdalmo Gallery 44 West Twenty third Street. The artists wereMilton Avery, Ilya Bolotowsky, Sari Dienes, Carl Holty, Morris Kantor, Theodoros Stamos, Vaclav Vytlacil, and Jean Xceron.
  79. D.A. ( Dore Ashton), “About Arts and Artists: Works of 17 Modern European Masters are Displayed at Rose Fried Gallery,” New York Times, October 21, 1955, p. 24.
  80. Parker Tyler, “Sari Dienes,” ARTnews, December 1955; Sari Dienes – Paintings and Objects, Betty Parsons
    Gal­lery, November 29 to December 17, 1955; review in J.R.M. Arts Magazine Vol. 30, Issue 3 (December 1955), p. 48.
  81. Palace of the legion of honor. AAA_parsbett_1052251.
  82. Mark Hedden, “Petroglyphs,” Craft Horizons Vol. 17, no. 5 (September/October 1957): pp. 29-31.
  83. Mark Heddon, “Surface Printing as a means of Recording Petroglyphs,” American Antiquity
    Vol.23, No.4 (April, 1958), pp. 435-439.
  84. Alfred Frankenstein, “A Circular Saw and Some Spiky Forms Lead to a Sunflower ,” San Francisco Chronicle, Feb. 24, 1957.
  85. Hara (1929-1986) won the Grand Prize at the 1958 Brussels World Fair.
  86. Though published here first, Cage’s ideas were first presented at the Artist’s Club in 1950. Willemien Froneman, “Composing According to Silence: Undecidability in Derrida and Cage’s Roaratorio,” International Review of the Aesthetics and Sociology of Music Vol 41, no. 2 (December 2010), pp. 293-317, URL:
  87. Dienes, Sari. “Notes on Japan”, It Is 4 (1959): 63-65. Emphasis Dienes
    “Everything has a mind, spirit, intelligence: I honor these in everything and do not separate myself as a human being from them . . . We make the distinction between something that is seemingly rigid (a stone) and something that seemingly moves (a person.)”
  88. Zeller, Making Her Mark, p. 64.
  89. Dr. Mildred Pollner. Garbage Art, film, 1985, New York, NY, Sari Dienes Achive.
  90. September 28-October 17, 1959. Lawrence Campbell, “Betty Parson Back from Japan,” ARTnews Vol. 58, Issue 6 (Oct. 1959), pp. 14-15, 2 pages, black and white photographs.
  91. Richard Raderman, Sari Dienes:Empress of the Sands of Reason: (film, 1987).
  92. Archive of American Art , Letter dated February 16, 1954 to Dienes from Betty Parsons re Vogue and Life. Parsons hired the Charles Z. Offin advertising firm to place the ads, April 18, 1954.
  93. Martha Edelheit. Hats, Bottles and Bones, film, 1976, Sari Dienes Archive.
  94. Ce Roser interview 2013, Sari Dienes Foundation Archive.
  95. Greg Allen, “John Cage Stony Point House,” May 3, 2017,
  96. M.C. Richards, Craft Horizons, Sept-Oct. 1962 p. 25.
  97. David Howard. Sari Dienes: The Master’s Masterpiece, (film,1992).
  98. M.C. Richards, “The Bottle Gardens of Sari Dienes,” Craft Horizons, no.22 (Sept-Oct. 1962) p. 25.
  99. Rob Baker, “Uncool to Uncola–The Fabulous Psychedelic 7-Up Ads 1969-1973,” Flashback, December 11, 2014,
  100. Included in Art and the Found Object were works by Joseph Cornell, Marcel Duchamp, Max Ernst, Man Ray, Louise Nevelson, Robert Rauschenberg, and Kurt Schwitters.
  101. Dienes’ mirror constructions were included in Martha Jackson show, September 8 to October 22, 1960.
  102. The Art of Assemblage was organized by William Seitz for the Museum of Modern Art, Oct. 2 – Nov. 12, 1961. The exhibit traveled to the Dallas Museum of Contemporary Art and San Francisco Museum of Art.
  103. Dienes Construction No. 11, 1961, glass bottles mirror glass, painted wood, cork aluminum 25 ½ x 11 x 4.5 inches, p. 157. Collection of Fonds National d’Art Contemporain (FNAC).
  104. Joan Guimmo, I Am a Maker, film, Sari Dienes Archive.
  105. Roberta Smith, “Sari Dienes, 93, Artist Devoted to the Value of the Found Object,” New York Times, May 27, 1992.
  106. Brian O’Doherty, “Other Exhibitions,”New York Times, January 18, 1964 p. 20; Jill Johnston, review of the exhibit in Vol. 48, Issue 4 (January 1974): p 63; Gerald Fromberg, review of the exhibit, ARTnews Vol. 63 (March 1964).
  107. The James Brown House was built in 1817 – the year that Greenwich Village was merged into NYC. It is one of the oldest existing taverns in New York City. Not just a tavern, the Ear Inn at 326 Spring Street became known for its new music and performance programs. See Ear Inn Virons by Andrew Coe, 2002,
  108. George Ancona, Snow Painting (1971) unfinished footage. This February 22, 1971 performance predates David Hammons Bliz-aard Ball Sale (1983) on Cooper Square, NY.
  109. Gene Smith, “Xerox Planning to Market Color Copier Next Year,” New York Times, May 19, 1972.
  111. P.C. Kainen, Creative Re-Use, film, 1982 ; A.I.R. Gallery, Sari Dienes interview.
  112. Lawrence Campbell, ARTnews Vol. 71, Issue 8 (December 1972): p. 11.
  113. Art International Vol. 17 (February 1973): p. 60 (Archive Press).
  114. Harmon Siegel, “The Black Wallpaper: Louise Nevelson’s Gothic Modernism,” The Art Bulletin, December 2017.
  115. Siegel, “The Black Wallpaper.” Philip Guston, Willem and Elaine de Kooning, Ad Reinhardt and Leo Steinberg attended. p. 170.
  116. Siegel, p. 171.
  117. Siegel, ibid. In 1952, Robert Moses announced plans to demolish Nevelson’s New York block.
  118. Women Choose Women exhibition dates: January 12 – February 18, 1973.
  119. April Kingsley, review of Women Choose Women, Artforum Vol. 11, no. 7 (March 1973): p. 69, with arts
    organization ‘Women in the Arts’, the New York Cultural Center published a catalogue, Women Choose Women, essay by Lucy Lippard, 126 pages, 109 black-and-white illustrations.
  120. Judith Van Baron, Arts Magazine Vol. 48, Issue 4 (Jan. 1974): pp. 63-65’. Sari Dienes’ first show at the A.I.R.
    Gallery ran from November 10 to November 28, 1973. Her subsequent shows were in 1975, 1977, 1979, 1981 and 1990.
  121. Elsa Honig Fine, “One Point Perspective,” Woman’s Art Journal Vol. 21, no. 2 (Autumn 2000 – Winter 2001),
    p. 4.
  122. Buecker & Harpsichords, 465 West Broadway, NY, exhibited Recent Portraits of Sari Dienes from March 6 – April 24, 1976. Some of the artists included Robert De Niro, Dick Higgins, Buffie Johnson, Ray Johnson, Kiki Kogelnik, Pat Mainardi, Fred Mitchell, Alice Neel, Lil Picard, Ed Plunkett, Stella Snead, Anita Steckel, Leonore Tawney, Johanna Vanderbeek, Anna Walinska and Andy Warhol.
  123. Animal bones were also used in Tawney’s assemblages. For example see Lenore Tawney, “A Dry Cry from the Desert,” in Karen Patterson, Lenore Tawney: Mirror of the Universe (Chicago: The University of Chicago Press, 2019), p 97, written in 1970.
  124. Judith Van Baron, Arts, January 1974.
  125. Sari Dienes Retrospective, Catalogue, Thorpe Intermedia Gallery, 1986, p 12. Dienes’s tenure as artist in
    residence at Altos de Chavon, Dominican Republic, 1981, produced many assemblages, later shown at Dienes’ solo exhibition at A.I.R. Gallery, Creative Reuse, 1982.
  126. Richard Raderman, Sari Dienes Strings (1987), Sari Dienes Archive.
  127. Mary Vaughan, “Sari Dienes: Soho’s Auntie Mame,” Ms. Vol. 7 (October 1978): pp. 32-34 and M. Heaton,“Like any other masterpiece, Sari Dienes seems to improve with age—she’s 81 going like 60,” People Weekly Vol. 13 (June 2,1980): p. 72.
  128. Sari Dienes: A Life in Art 2021 film by Barbara Pollitt and Adrian Hayman: Sari Dienes Foundation.
  129. Sarah Humphreville, Boldness Knew No Limits: Women and the Emergence of American Abstraction, Whitney Museum of Art, Labyrinth of Forms: Women and Abstraction, 1930 – 1950. October 9 2021 – March 2022.”
  130. Gabriel, Ninth Street Women, Ann Gibson, Abstract Expressionism: Other Politics (New Haven: Yale University Press, 1997), and Sid Sachs and Kalliope Minioudaki, Seductive Subversion: Women Pop Artists 1958-1968 (New York: Abbeville Press, 2010).
  131. Richard Raderman, Sari Dienes:Empress of the Sands of Reason: (film, 1987).
  132. Insurance money from the fire in Dienes’ studio in 1955 enabled her trip to Japan. Insurance money from the flood which destroyed a portion of her retrospective at the Gaga Gallery in Garnerville, NY, from Hurricane Irene (2011) funded years of research by the Sari Dienes Foundation.
  133. “The establishment of the Sari Dienes Foundation under the able guidance of Barbara Politt; I thank her for all her considerable help in this exhibition. Also Pavel Zoubok who for decades has promoted collage and
    assemblage artists.” –note to Sid Sachs’ original publication, 2021.
  134. Sari Dienes, Poem, (1941) Recited in Martha Edelheit. Hats, Bottles and Bones, film, 1976, Sari Dienes Archive
  135. Gregor, “Rollers in the Street.”