“What makes interviews so compelling? In the sixties the Italian feminist art critic, Carla Lonzi, stopped writing structured critical essays and began to record interviews with artists, publishing them with the minimum of editorial intervention. She wrote: ‘I felt the work of art as a possibility of meeting, as an invitation by the artists to participate, directed to each one of us. This seemed to me an act to which I could not respond professionally. These last years I have felt doubt about the role of the critic, in which I have seen a coded nature estranged from art as well as an exercise of discriminatory power over artists. Even though it is not automatic that the technique of tape-recording is sufficient to produce a transformation of the critical act… the complete and verifiable act of criticism is only that which partakes of the work of art itself’”.