We did occasionally lend to other exhibitions of course so that would require re-thinking a space and then on the level of the none art, as it were, the pebbles, feathers – damage, loss – would require re-thinking. Sometimes we ran this past Jim, other times we just did it and told him, other times we just did it and didn’t tell him. But there would be a process of debate, I think, and Jeremy had a different kind of passion to me about the need for it to be just so. We, probably like a lot of people very intimate with Kettle’s Yard, we probably each had our own idea of what that meant and that’s where the analogy I was meaning about the performance of the piece of music comes in. Let’s take the spiral as the best example, or the dark to light pebbles. We would constantly remake that. And then the precise nuance of the relationship between that and that and that, whatever it might be, might be just slightly different. Another would be the angle of the Hamilton Finlay in the plants area. And of course the fact that the plants changed. I remember a huge schmozzle about the dizygotheca down below by the piano in the lower area and the Buddha. Because of course the dizygotheca covered the Buddha and the Buddha sat under the tree but eventually this thing became too big, it grows, you know, plants grow! So how high this should… and Gerard Hemsworth of all people, he was in a show that I curated, and he got really interested in Kettle’s Yard and he offered to find a dizygotheca of the right height. So, in other words, you might be passionate about exactly where it was, whatever it might be or what you’d got to know, but of course the irony was that it could never be exactly that.