It's just such a wonderfully jarring contrast.

People are always accusing her and wanting to know why she's obsessed with sexual parts. She refuses to even admit that these things are directly representational, and they aren't, really, in a sense. They're suggestive of lots of different organic shapes and natural forms.

That's the thing to know about Louise Bourgeois, more than anything else, is her own immediate reality and her own emotional landscape that is always the subject of her work.

Sometimes, I think it's really hard to notice her stuff, which I think is really a tribute to the strength of her sculpture.

It was pretty jarring to see.

Because you don't notice the light without a bit of shadow. Everything has both dark and light. You have to play with it till you get it exactly right.