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.