Cy Gavin

And the moment when I moved upstate, it was a question of like, how...

as readily and quickly understand the texture of these places and what are the stakes?

Why do these people care about this issue?

And that is for my own self-preservation, but also to be like, how am I implicated in this?

What is my impact as a person who's coming into this place?

If I go and tell people I'm in this town, is that going to just completely destroy a lot of positive things about the town?

Um, and it surely would have, I think, yeah, I think I moved through the world curious about that.

And, um, I think of it as always evolving in ways that are positive, negative and neutral.

I mean, it's sort of proof of having existed, which is interesting and profound.

I didn't make this work right before it was acquired by the museum.

It was in my life for like a year before I even showed it.

And it's of a site at my studio of literally paths that I cut into a meadow that I didn't really know what I was painting when I was working on it.

But then the more I looked at it, which is why it was in my studio for a year, I felt that it was probably because the time when it was made,

about agency and making choices and also the kind of magic that historically happens at crossroads.

And I don't feel like that is not necessary information for people to like have their experience with that work.

But I think what is really amazing about the Met, what's incredibly amazing about the Met and apropos of this conversation particularly is like, this is a free museum and,

And so few are in the world.

And this houses some of the most incredible things to just feed your imagination and curiosity.

And to be able to do that so readily, why would you not be here all the time?

And so when I was here all the time,