documents will then be made available in the Art Library's reading room. The Art Library's room remains open at this time, contact for Covid/pandemic guidelines. In reading the extensive notes that Lundquist left, Frederick Liew had the perception that Lundquist may have actually restricted the deeper understanding of his work. Lundquist was the artwork's creator, and given this, his words had been presented and often received as absolutes. Liew felt that Lundquist's great efforts to define not only his work but his personal life (which was not described entirely factually) served to conceal rather than reveal his works and his life. Ulf Linde wrote the preface of the second edition of Lundquist's autobiography. This edition, which was published after the artist's death, may have given Linde a freer hand in writing his own perceptions about Lundquist. Linde writes that what Lundquist says in the book is true. He assures readers that Lundquist was as he claimed to be —- as far as his claims went. However, Linde seemingly opens the door to speculation that some truth(s) had indeed been excluded from the narrative. Linde writes, "but[...] would he really have painted the way he did if he were the person he recalled in his memoirs?" Despite the eleven full volumes of notes and critiques he created, he continued to assert no intent to study his art. Within the volumes of notes left by Lundquist, there is a copy of Gustav von Platen's 1945 critique. Lundquist has underlined Platen's words, "for being self-involved to the point of narcissism". He has duly attached his own addendum to the critique in which he declares himself innocent of "any attempt at pursuing a detailed study of my art". Desire to craft public persona While Lundquist was concerned with clarifying and crafting the perception of his art by annotation, he was also carefully creating a public persona that was not congruent with the actualities of his life. Art critic and cultural commentator Björn Widegren premised that Lundquist felt if he could keep his demons locked in the basement, "in some way they would remain silent." Lundquist, by creating his public narrative, had effectively tried to lock his demons away from sight. At best, the experiment was only successful in creating a publicly recognized image. Jan Gottfarb, of the Lundquist Trust, believed that Lundquist also used his identification with the bourgeois as a type of armor