I started in technical services. The founding librarian, Ernest Toy, had a very good vision – that the library needed visual presentations and education. We had a big area with display cases near the south entrance, which were empty when I came. I was asked by [then head of public services] Barbara Davis, who heard that I had an oriental collection, if I could put something in the cases.

We started producing bigger and bigger shows, and got very good art reviews. When we found out the library was getting an addition, I requested the inclusion of a new gallery. So 10, 15 years later, I got to work with the architect on the Atrium Gallery.

Because we are so short-staffed, we cannot afford a full-time gallery sitter during our open hours – the library policy is to have the gallery open as long as possible for the students to visit. We had to design the cases in a way that was very secure, which limits our display flexibility.

I told the architect, “All I need is a big rectangular room” – with high, dark ceilings. I could then build it the way that I wanted. The final design for the building featured twin crescent rooms. I said I didn’t want carpet in the gallery, but they said, “You have to, because the twin has to be the same.” So I ended up with this crescent room with carpet and lighting – from a very good lighting company – but it’s so low that it constantly interferes with the way that I want to do things.

They did follow many specs that I wanted. I had them build double walls with pine wood behind the dry walls so you can secure pieces.

I look at the gallery – because it’s located in the library – as carrying a vision of visual education. It always starts as an art exhibit, so even when working on a cultural theme or any other particular subject, I curate, design and present it as an art show.

I have a lot of ideas in my mind, and I just wait until I have enough resources. Some exhibits are based on someone I know who has a great collection. I want to show subjects that haven’t had much exposure – that the students have not had any contact with or are aware of – to regenerate people’s curiosity.

A lot of students do not go to art museums or art galleries, or even our art department galleries. They don’t even know they’re over there. So I get a chance to refer them back to something happening there, or to Grand Central.

I never want to present something until I really know it can be pretty good – I have to satisfy myself first.

There’s a lot of research and time, looking for people, looking for resources. Persuasion – explaining to owners why it’s good for them to share, and to let me come to their houses and borrow their collections. I always have backups, in case it does not come through. Usually I have two years worth of exhibits in store, ideas that I’m waiting to build up. Some of them are already scheduled, like I have a couple of artists committed for 2004. You have to plan ahead because we don’t have a big budget, like bigger galleries or museums. So most of the time, we have to count on my connections and resources and people’s generosity – being very supportive, they like the show idea, they think it’s good to share. I’m able to get most of the things free of charge, but they have to trust you.

When we were in the old exhibit area, I was working with a Japanese bank. They had a huge national treasure collection of ukiyo-e, woodblock prints, and they wanted to loan them to me. But the insurance was astronomical, and the Patrons [of the Library] couldn’t afford it. So I had to reject it. And they said, “Don’t worry, we want your people to see it, so just go ahead.” But I worried to death, I couldn’t sleep! I went to the police and begged them to come by more often and check on it.

Yes, but some students who have graduated were kind enough to come back as volunteers. What helps me is that I’ve gotten to know a number of people on the university staff. Whenever I need woodwork done I know who can help me – electricity, media. I can assemble a temporary crew, so I am extremely lucky. I have to be stingy sometimes in other areas so I can pay some people, which is more economical than hiring full-time staff, because I couldn’t keep them busy like in other jobs.

They all are challenging in a way. The 40th anniversary – also Automata, for the library addition dedication ... because of the complicated involvement in so many areas and of so many people, as well as the responsibilities to achieve the university’s missions. Both exhibits were multimedia presentations bringing the latest technologies, such as human modeling and motion capture demos, techniques now used widely in the movie industry, such as in “The Lord of the Rings.” Designing fiber-optic objects and converting the east wing to a new gallery were among the other challenges. And the kimono exhibit, because of the staging of a simultaneous fashion show from Japan.

The opportunity to meet challenges and create exhibitions on new subjects for students, faculty and community members. To feature library services and uses through the galleries as a visual education center, as encouraged by our university librarian, Richard Pollard. To learn from research, to meet and befriend many artists and collectors – and be surprised to find how supportive, generous and nice people are. And most important, to have the privilege to work with so many faculty, staff and students, as well as community members – all so supportive and helpful in every way, making it possible to do my job.