This print reproduces a page from a multiple page poem written on graph paper. The work was composed by Castoro in 1969. Castoro was the first wife of Carl Andre who also used Castro as her last name. Broadway 1602 Gallery: Rosemarie Castoro (1939-)was a central protagonist among of the New York Minimalists and one of the few highly recognized female painters in this milieu. In the early 1960s Castoro found her initial inspiration in modern dance. She collaborated with Minimal Dance pioneer Yvonne Rainer and at Pratt Institute she got intensely involved with choreography. "When I danced I leapt through the air and continued to remain up there"¦I felt a self-propelled air- stretch. It was a way to leave this earth, to bring coherence to reality, to find a path again, to deeper the grooves and push the forest of the half blind." This highly evolved early practice served Castoro to explore three-dimensional space. By 1964 she decided to channel her central aesthetic concerns focusing on painting and drawing. Castoro created henceforth a pioneering body of work of highly sophisticated hard-edge abstraction. Her form vocabulary first defined in experimental drawings was soon further developed in prominently scaled canvases. At times Castoro allowed her abstract structures to grow into greatly extended visionary formats reminiscent to the presence of public murals. Yet, these large-scale works show the same sensibility for filigree structure and detail as her intimate work on paper, "“ the laboratory of all of Castoro's soon expanding practice. "In 1964-65 Castoro was making allover abstractions of gestural but tightly packed tile-like shapes which evolved into a basic "Y" unit, and then into strands or brands, like beams of light intersecting and interweaving in space." "In 1965 a dominant element emerged: the "Y." I answered its question by painting "Y's" on 7' square single color fields." Rosemarie Castoro's work is an exploration of the dynamics of space realized in structural experiment and intriguing color composition. Frank Stella pronounced Castoro as one of the most original colorists of her time. Since 1969 Castoro participated in the in the now legendary "Art Worker's Coalition" meetings "after it was opened up to all artists, where previously I was excluded from meetings at my own loft, which included Takis, Hans Haacke and Carl Andre." By this time Castoro extended her practice into the fields of Concrete Poetry, Concept Art and Site-Specific interventions. In 1969 she created the 24-part series of visual poetry A DAY IN THE LIFE OF A CONSCIENTIOUS OBJECTOR. In conceptual drawings and diaristic pieces Castoro developed a quasi-scientific system with which she structured her daily activities to an absurd degree of ratio, "“ "the best "fiction' I have read about the life of an artist." -- Source of annotation: Marvin or Ruth Sackner.