out from the background. In his design for Quartett, Wilson used four hundred light cues in a span of only ninety minutes. He is a perfectionist, persisting to achieve every aspect of his vision. A fifteen-minute monologue in Quartett took two days for him to light while a single hand gesture took nearly three hours. This attention to detail expresses his conviction that, "light is the most important actor on stage." In a conversation with theatre expert Octavian Saiu, Wilson was asked whether he is disturbed by the fact that his style is often imitated. His response was that "the world is a library", and therefore every artist is free to borrow from other artists. Props Wilson's interest in design extends to the props in his productions, which he designs and sometimes participates in constructing. Whether it is furniture, a light bulb, or a giant crocodile, Wilson treats each as a work of art in its own right. He demands that a full-scale model of each prop be constructed before the final one is made, in order "to check proportion, balance, and visual relationships" on stage. Once he has approved the model, the crew builds the prop, and Wilson is "renowned for sending them back again and again and again until they satisfy him". He is so strict in his attention to detail that when Jeff Muscovin, his technical director for Quartett, suggested they use an aluminum chair with a wood skin rather than a completely wooden chair, Wilson replied: No, Jeff, I want wood chairs. If we make them out of aluminum, they won't sound right when they fall over and hit the floor. They'll sound like metal, not wood. It will sound false. Just make sure you get strong wood. And no knots. Such attention to detail and perfectionism usually resulted in an expensive collection of props. "Curators regard them as sculptures" and the props have been sold for prices ranging from "$4,500 to $80,000." Exhibitions Extensive retrospectives have been presented at the Centre Georges Pompidou in Paris (1991) and the Boston Museum of Fine Arts (1991). He has presented installations at the Stedelijk Museum Amsterdam, Museum Boymans-van Beuningen, Rotterdam (1993), London's Clink Street Vaults (1995), Neue Nationalgalerie (2003), and the Solomon R. Guggenheim Museum in New York and the Guggenheim Museum Bilbao. His tribute to Isamu Noguchi was exhibited at the Seattle Art Museum and his Voom