There was a quality of transparency in the paintings I did during the 70s that awakened my interest in exploring glass as a medium for making sculpture installations site-specific to every space in which they were presented. They were created in New York City during the 1980s in public spaces. Glass emphasized transparency over solidity, invisibility over visibility while embracing permanence and impermanence, strength and fragility. Those immersive environments were capable of challenging perception in new ways while opening viewers up to other ways of seeing. They were also invitations to perceive new realms of meaning. Those glass environments were for me immaterial: their physicality would dematerialze to become just transparency. Made out of tinted grey and tinted bronze glass panels in layered configurations, they invited the viewers to see from nothing to everything and from everything to nothing. Although my sculptures appeared to be minimalist, I think that in essence they were not. They were rather metaphors for spaces that were simultaneously accessible and inaccessible, open and enclosed, tangible and intangible, private and public, visible and invisible. They referenced metaphysical, symbolic, architectural, and mathematical worlds. I was interested in how the dark but transparent glass panels suggested spaces where reality and illusion intertwined in a continuous flow. They offered the viewers the opportunity to be at once observers and participants.