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One day, in the summer of 1970, as Ed Moses and Riko Mizuno stood talking about his upcoming second exhibition at her gallery on La Cienega Boulevard, Los Angeles, the diminutive Japanese gallerist described the repair work that needed to be done to the building's roof. When he heard this, Moses made a decision that would not only become part of the folklore of Los Angeles art but would have a profound influence on the future direction of his work. Turning to Mizuno, Moses said that for his next show he wanted to take out the gallery ceiling and remove part of the roof. The only thing present in the gallery, apart from some rolls of canvas at the entrance and large unpainted panels on the walls and floor, would be the daylight falling through the exposed rafters into the space below.
