It was a time in the semester when most of her students were absorbed in their work, yet ready to share it with the class, as well (for the most part) open to crits, not only when they addressed issues of art practice, such as what kind of glue to use, whether or not archival paper was necessary, and the perils of spray photo mount, but also when issues -- such as the aesthetics of color xerox prints, theories regarding multiple editions versus one of kind works, and the relationship of content to form – were addressed.

Sitting in the comfortable chair she had bought on Monday, looking out the window at the evening view, she reviewed the work her students were creating, beginning with a well-crafted hand-bound photo book with pages of annotated color xeroxes of photos of a staged trip down a slow-moving shallow river on a handmade raft that disintegrated along the way until the student and friends waded to a wildflower-laden meadow, where a magical cooler opened to reveal an assortment of beverages that were consumed in the final photos.

On each page, hand-written text surrounded the photos, and issues of mounting the xerox prints had been surmounted. The binding itself evidenced mastery of a difficult process. On the cover was a photo of the building of the raft.