Anyone who has falsely labeled my style as "unrefined-ugly-painting" — would lose a defamation case. My natural style, as seen in my childhood and teenage drawings and paintings, is elegant, refined, and clean. In my 20s and early 30s — when childhood traumas and the constant antisemitism in my childhood — were coming through in my art — my paintings and drawings were at times garish and aggressive-looking, and sometimes grotesque — that was a decade-long trauma-response and rage — NOT testosterone.

Like my mother, and my artist-grandmother, and all the women in my family: I am on the very feminine side of the hormonal spectrum. I am a naturally feminine cat, (just not an insecure, catty one). That is easily proven in a court of law. Anyone calling me a "macho drummer" or "un-feminine and in the closet" would lose a defamation case. Also, considering the severe and irreparable damage caused by the decades-long assassination of my natural, straight, female biology and identity — by narcissistic psychopaths with mass media power – the envious liars would also lose a criminal case.

If people paid attention to the actual paintings — rather than forcing their narcissistic fantasies about me onto my art — they would notice that in the center self-portrait — I am not actually playing the drums. I was wearing a feminine corset and posed behind an actual drum set — my natural self symbolizing my feminine power rising above the mean-girl (Snow-White's wicked stepmother) who is flipped upside down at the bottom of the drum set. I am the dominant "cat." Snow White's stepmother is the submissive "dog." Moreover, Jane Rubin is always the self-disciplined ballerina she was growing up. I am also a CSA Survivor. My art does NOT represent my real life in a literal way. I avoid wild scenes and wild people. Stop projecting your "stuff" onto my art and me.

Jane composed and painted these audacious, larger-than-life figurative paintings in less than nine months. She also created numerous small-scale paintings, one of which is in the collection of Hal Foster, who asked to purchase it at the end of the Whitney Program.

These large-scale paintings were not published in the Whitney ISP Catalog that year, because curatorial fellows Sarah Morris and Julia Reschop (also working as studio assistants for Jeff Koons at the time) were in charge of organizing the catalog and, at the last second, the night before it was going to the printers, blocked the fold-out of her large-scale paintings that Jane had proposed as her entry in the catalog from being published. While Jane was down the hall in her studio painting — Sarah and Julia were conducting their final catalog meeting in the seminar room — and Sarah shouted about Jane's proposal: "She'll get too much attention." That was her reason for blocking it. Other artists in the program came to Jane's studio right after the meeting to let her know they thought Jane's proposal should be published, that no one had a right to block it. The next morning, Ron Clark claimed to Jane that the reason for blocking her large paintings was that it was too expensive to print a fold-out of her 3D triptych. If cost were actually the issue, then Jane should have been allowed to publish a photo of the entire installation on one page, and each of the three paintings on a separate page. Every artist was given multiple pages in the catalog. However, neither Ron, nor Sarah and Julia, offered that as an alternative solution. That morning, Jane scrambled to come up with something to have in the catalog, putting together a montage of smaller paintings and drawings. All of their excuses were BS.

They were cheating against Jane, who also happened to be the only Jewish artist in the program.

Jane Rubin was selected for the Whitney Program (without an interview, a rarity) for her talent and originality. Any curating student or staff member of the Whitney Program (with funding from the Helena Rubinstein Foundation) who blocked the talent and originality of a Whitney Program Artist from being published should have been the subject of a formal complaint by Jane to the Whitney Museum of American Art, but at the time, while consistently bold and original in her art, during the 1980s — due to trauma and constant antisemitism in her childhood in York, PA — Jane did not stand up to insecure, envious mean girls, bullies, and antisemites trying to stop her, and said nothing. That would never happen again.

BTW, York, PA is also the hometown of Former Porn Star (and Anglo-Saxon Male) Jeff Koons, who was invited by the Whitney Museum to speak to children from PS 33 — on November 3, 2014, which is the birthday of Jewish-American Female Artist, Whitney Program Alum, and York, PA native Jane Rubin — who had become impoverished by years of defamation and criminal bullying of her.

The positive treatment of former porn star Jeff Koons, or David Salle, who is Jewish, worked for a porn company and created pornographic paintings, or "bad boy" artist Julian Schnabel — who is also Jewish and also a Whitney Program alumnus — versus the consistently abusive treatment of Jane Rubin — clearly indicates that misogyny (also coming from other Jewish people) has been the biggest part of the intersectional storm of misogyny, envy and antisemitism injuring Jane Rubin for decades — and also injuring Jane's family.