From the moment I was exposed to Mike Malloy's brand of conceptual art, focusing on human psychology and incorporating the actions of people, I knew my own creative direction. It took less than six months from my first attempts at making conceptual art, to my first one-person show in fall 1973 at OK Harris Gallery in Soho. The exhibition was a surprise success, purchased in its entirety by a consortium of Italian dealers who then toured it around Europe. I was suddenly an artist of interest included in trendy group shows organized by the hot young curators of the moment; exhibitions like Edit deAk's "Not Photography" and "Lives" by Jeffrey Deitch, both held at the Fine Art Building in Tribeca in 1975. My work fit in nicely with the new directions of the mid-1970s: narrative art, political art, and art that explored emotions. I continued to exhibit in galleries for almost a decade, but over time my "art" and my "creative identity" began to undergo changes. Conceptual art was open-ended in ways that deliberately challenged both the nature of art and the definition of an artist. Without consciously breaking stride, I became less interested in creating wall pieces and more involved in producing publications, videos and exhibitions. I began to avoid using the term “artist" as I increasingly became a journalist, curator, and publisher.