Because my Whitney ISP painting installation was not published in the 1990 catalog, it is necessary to say why: The trifold of my three, larger-than-life paintings that I had proposed was blocked, because curatorial fellows Sarah Morris and Julia Reschop — Jeff Koons's studio assistants at the time — were in charge of organizing the catalog, and, the night before it was going to the printers, they blocked my proposal. While I was down the hall in my studio, painting — Sarah and Julia were conducting their final catalog meeting in the seminar room. Sarah shouted angrily about my trifold proposal: "It will get too much attention." That was her excuse for blocking it.

Other artists in the program came to Jane's studio right after the meeting to express their support for her and for her fold-out being published. However, the next morning, Ron Clark claimed to Jane that it was too expensive to print the trifold she had proposed...and that morning, Jane scrambled to come up with something to have in the catalog, putting together a montage of smaller paintings and drawings. FYI: I was the only Jewish artist in the program, a straight, femme-presenting Jewish Woman — from a liberal family from York, PA — who supported Israel's right to exist as a Jewish Democracy, and supported a two-state solution.

The positive treatment of former porn star Jeff Koons — who happens to also be from Jane's hometown, York, PA — or (Jewish) David Salle — who worked for a porn company and created pornographic paintings — indicates that misogynist double standards — and envy — also coming from other Jewish people — have been bigger issues than antisemitism in the intersectional storm of misogyny, envy and antisemitism injuring Jane Rubin for decades — and also injuring Jane's family.