in London: "Things folded, things piled, things twisted, things wound and unwound; tangled things, blunt things to connect to; materials that have a congealed look, materials that seem lost or discarded or mistreated; shapes that look like they should have been made of flesh and shapes, that look like they might be made of flesh but should not have been – you can look at these things, these materials, these shapes, and feel the shudder of an unnamable nanosensation, or you can let your eye pass by them without reaction; maybe you can do both at once." All of her work, and especially her drawings, are based on repetition and simple progressions. Preservation of artworks There has been ongoing discussion about how best to preserve Eva Hesse’s sculptures. With the exception of fiberglass, most of her favored materials have aged badly, so much of her work presents conservators with an enormous challenge. Arthur Danto, writing of the Jewish Museum's 2006 retrospective, refers to "the discolorations, the slackness in the membrane-like latex, the palpable aging of the material… Yet, somehow the work does not feel tragic. Instead, it is full of life, of eros, even of comedy… Each piece in the show vibrates with originality and mischief." In some cases, her work is damaged beyond presentation. For instance, Sans III can no longer be exhibited to the public because the latex boxes have curled in on themselves and crumbled. Hesse’s close friend Sol LeWitt argued for steps for active conservation, "She wanted her work to last ... She certainly didn't have the attitude that she would mutely sit by and let it disintegrate before her eyes." LeWitt's response is supported by many of Hesse’s other friends and colleagues. However, Hesse’s dedication to material and process contradicts her intention for these works to attain permanency. When discussing this topic with collectors in mind, she wrote, "At this point, I feel a little guilty when people want to buy it. I think they know but I want to write them a letter and say it's not going to last. I am not sure what my stand on lasting really is. Part of me feels that it’s superfluous and if I need to use rubber that is more important. Life doesn’t last; art doesn't last." Legacy Her art is often viewed in the context of the many struggles of her life. This includes escaping