The New York Times sits down with art dealer Virginia Dwan, whose collection is set to go on view at the National Gallery in Washington, as she reflects on her career and her contributions to the development of post-war conceptualism and the neo-avant-garde, including her support of works like Robert Smithson’s Spiral Jetty or an early version of Walter de Maria’s Lightning Field. “There was a feeling of connection, other than just paying them — I was interested in their ideas,” she says.
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