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Ed Ruscha

In the summer of 1962 Joe Goode and I hitchhiked from Los Angeles to New York, where we met Andy Warhol at his firehouse studio. He said, “Let’s go down and see Jim Rosenquist.” So we went down to Rosenquist’s studio on Coenties Slip—we were there for maybe an hour or so. I remember him working on a painting that had basketball players in it, called Painting for the American Negro. He had a wall phone with what seemed like hundreds of numbers tacked up around it. He had a really messy studio that was sort of perfect for what he was doing, with visuals all over the walls and floor.

I connected with Rosenquist because we’re midwesterners, although I was more from the Southwest and Oklahoma. This was more or less my first trip to New York, and I was wowed by the city. The fact that somebody came from North Dakota, or Minnesota, that somebody from those simple places went to a big city like

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