Six months after Margaret came home, Claire finished the foundation installation.
It was the largest work she had completed to date, twelve panels, floor to ceiling, filling the main gallery of Eleanor Ashworth's foundation offices in New York with the history of what had been built there, named and unnamed, documented in color and line with the particular specific honesty of someone who understood what it meant to have your work go unacknowledged and was not going to do that to anyone else.
Margaret Cole's name was in the center panel. Not small, not tucked in the corner of acknowledgment. Central, clear, correct.
Eleanor had come to the studio four times during the making of it, which was how Claire had come to know her properly, which was how she had come to understand that Eleanor A
