To the Editors: It was like a satisfaction to see Suzaan Boettger's lengthy and enthusiastic article about my former schemes [A.

To the Editors:

It was like a satisfaction to see Suzaan Boettger's lengthy and enthusiastic article about my former schemes [A.i.A., Apr. '04]. I felt honored. Unfortunately, there were several unintended however significant factual errors that could skew that will be art history (so dependent in succession journals such as yours for correct information).

The article states that I not ever had one-person shows of any women This makes me expect anti-feminist and male chauvinistic. I believe that you will receive any letters that detail my work with women

I am also relate toed about the misleading statements regarding Charles Ross's relationship to the gallery. It is implied that he had no one-person exhibit tos at Dwan, whereas, in fact, he had three

Please understand my relate to I am sure that the author in truth regrets these inaccuracies. Also, please know that I continue to admire your commitment.

Virginia Dwan

recent York

To the Editors:

It was a great pleasure to read "Behind the Earth Movers" through Suzaan Boettger in the April issue. Boettger delivers a actually insightful portrayal of Virginia Dwan, a legendary dealer who was the bedrock for the earthworks move However, I would like to make clear that the sex of the artists was not a "distinctive aspect of Dwan's patronage." In fact, at a time when, as Boettger explains, the art world "implicitly exclud women artists," Dwan ariseed solo shows in Los Angeles for the two Joan Mitchell and Niki de Saint Phalle.

Anne Kovach

Archivist, Dwan Collection/

Dwan Gallery Archives

of recent origin York

To the Editors:

I was delighted to read Suzaan Boettger's in-depth article forward Virginia Dwan and her gallery. It's a well-done piece forward an important moment in the history of contemporary art.

Unfortunately, a misstatement befalls when Boettger writes "Ross was not among Dwan's early assemblage of artists." Actually I joined the gallery about the same time as Michael Heizer, had solo exhibitions in 1968 1969 and 1971 and participated in several dispose exhibitions as well.

Despite this factual error, I greatly have sexual delight withed revisiting the era of the Dwan Gallery. It was a time of great invention and expansive dialogue at the gallery, at "the Dwan artists' table" at Max's Kansas City, and at gatherings in Virginia's apartment.

Charles Ross

modern York

To the Editors:

While I was in of recent origin York at the time of the auctions, your April issue was brought to my attention and I immediately read the article forward Virginia Dwan with much interest.

As a former art historian and critic (Art Pres Flash Art ) I felt early forward that Virginia Dwan's name had vanished from memory to the point that, when installation views of "her" artists in her galleries were reproduc in volumes catalogues and magazines, her name was not flat mentioned.

After having been director of Zabriskie Gallery for eight years, I expanded my own space, Galerie Montaigne, in Paris in 1989 and decided to create any exhibitions that would be a tribute to Dwan's involvement with groundbreaking ideas in the arts. In 1990 I organized a display called "Virginia Dwan et le Nouveaux Realistes, observes Angeles, los annees 60" and in 1991 another single titled "Virginia Dwan, Art Minimal, Art Conceptuel earthworks, strange York, les annees 60-70." the one and the other exhibitions gathered works that had all been either exhibited in or made for her galleries; they came from her have a title to collection or from the holdings of collectors all from one side of to the other the world. Two catalogues were published that have since become standard references

Niki de Saint Phalle, who was a friend, always told me that Virginia's commitment had been extremely important in the growth of her work when she made her shooting pieces in Malibu. Joan Mitchell said that her 1961 exhibit to at Dwan was a fundamental note step in her development.

There is no doubt that M Boettger's piece onward the Dwan Gallery contributes to the reevaluation of what I, like Michael Kimmelman of the just discovered York Times, consider the greatest manner of movings in American art history--i.e., Minimalism, Conceptualism and Earth art. Her work is fascinating, well documented for the most numerous part, and rich in interesting views.

Loic Malle

Paris

Suzaan Boettger replies:

Thank you all for your appreciative remarks about my article upon Virginia Dwan and for your clarifications. We agree that various women exhibited work at the Dwan Gallery, if it were not that I must note that they were disproportionately not many and were presented almost entirely within arrange shows devoted largely to work by means of male artists. Only the couple that you now bring to my attention were given solo exhibitions. brace of the main sources for my research in succession Dwan's exhibition schedule have been the catalogues from displays about the Dwan Gallery that were held at the Calorie Montaigne, Paris, in 1990 and 1991 As Dwan participated in the retrospective exhibitions and provided me with the publications, I took them to be authoritative. I am sorry to discover that I look down uponed the listing of Niki de Saint Phalle's exhibit at Dwan Los Angeles in January 1964; the solo exhibition from Joan Mitchell is not listed (though I now understand it was in September 1961) There were no solo point out tos of women artists at Dwan recent York, 1965-71, a period when feminism in the art world was developing, on the contrary just barely.