My natural painting and drawing style, as seen in my childhood and teenage art, is never heavy or garish. It's elegant and clean.

In my 20s and early 30s, childhood trauma and the constant antisemitism in my childhood, were coming through in my art, and my paintings and drawings were at times garish, aggressive-looking, and sometimes grotesque.

That was trauma and rage — not testosterone.

Like my mother, and my artist-grandmother, and all the women in my family: I am on the feminine side of the hormonal spectrum.

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 also a CSA Survivor.

My art does NOT represent my real life in a literal way.

I avoid wild scenes and wild people.

I composed and painted these larger-than-life figurative paintings in less than nine months. I 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, they blocked the fold-out of my large-scale paintings that I had proposed from being published.

While I was down the hall in my studio, painting — Sarah and Julia were conducting their final catalog meeting in the seminar room — and Sarah loudly shouted this about my proposal: "She'll get too much attention." That was Sarah's (Jeff Koon's assistant) reason for blocking th fold out of my large painting: My art would get too much attention.

Other artists in the program came to my studio after the meeting to let me know they thought the foldout of my paintings should be published, that is was wrong for Sarah and Julia (Jeff Koon's assistants) to block it.

The next morning, Ron Clark claimed that the reason for blocking it was that it was too expensive to print the foldout I had proposed. That is BS.

If cost had been the issue, then all they had to do was offer the alternative solution of publishing 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, did offer that as an alternative solution.

So, that morning, right before the catalog went to the printer, I had to scrambled to come up with something else to have anything in the Whitney Program Catalog at all.

They were cheating against me, and I also happened to be the only Jewish artist in the program.

In 1989, I was selected for the Whitney Program without an interview, a rarity, and Ron, himself told me I was "one of their first choices."

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 me, to the Whitney Museum of American Art, but at the time, during the 1980s, due to trauma and constant antisemitism in my childhood in York, PA — I did not stand up to it. That would never happen again.

FYI...Jane Rubin is from York, PA...

And so is Porn Star Jeff Koons, who made triple-X porn art with his porno wife, but has never been called a "slut" by anyone...and was invited by the Whitney Museum to speak to children from PS 33 — on November 3, 2014, i.e. on the birthday of Jane Rubin, who, in 2014, had become impoverished by years of defamation and criminal bullying of her...while...

Porn Star Jeff Koons was speaking to children at the Whitney.