I had a dream during the 70s in which my paintings became free standing and transparent, and awakened my interest in exploring glass as a medium for making sculpture installations site-specific to every space in which they would be presented. They were created in public spaces in New York City during the 1980s. Glass emphasized transparency over solidity, invisibility over visibility while embracing permanence and impermanence, strength, and fragility. Those immersive environments invited the viewer to inhabit new realms of meaning. They were for me immaterial: their physicality would dematerialize to become just transparency. Made from tinted grey and/or tinted bronze glass panels in layered configurations, they enabled 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.