It was a strong turnout at the Andrea Zittel talk last night, way beyond fire code: people sitting on the floor, between desks and at right-hand angles to the projected images. Portlanders can't get enough of this stuff.

What I took from Zittel’s presentation (and her work in general) was a reinforcement that contemporary art can’t stop blurring lines wherever possible. Installation, architectural design, drawing, painting, fashion, furniture, and textiles are all part of her whole. The artist's life as art itself is embodied in her fixation on individual living spaces. Place is part of her projects but not an overriding theme. Personal experience, memory and time are also strong elements. Or as Zittel references in her various project names: it’s about an "A to Z" approach…whatever creates emotion.

Stephanie, can you talk about your draw to Zittel's work, and also, how her work in Beyond Green was commissioned or developed? The piece in Beyond Green seems somewhat like a departure from what she presented last night.

What I also took from last night’s event (and it did feel like a happening of sorts) was the reality of how many talented and knowledgeable curators there are in this town. (And for the record, I could never claim to be one of those: I’m an editor, writer, publisher, nonprofit manager and fundraiser…definitely not a professional curator or art historian.)

Finally (for today), my vote for best contribution to Beyond Green is Dan Peterman and his "rolling vitrines," or what I might call "orbs of discarded delight." They seem to work on many levels and are pleasing at face value, whether or not there is a green message associated. They point to both 19th century laboratories as well 21st-century satellite technology. It's as if Peterman captured space trash, vacuum-sealed it and brought it back to display on earth in small, clear-shelled comet balls. [Note to art directors: let’s keep his images big.] Where did you first discover Dan Peterman?