The Bookware Series of 1980 introduced Lois Polansky’s concern with the relationship between paper and cloth. She formed the pages of her diaries, albums and herbals in handmade paper; the same cotton fibers that go into the making of cloth. It was in the process of pouring the colored pulp on the gauze and muslim that the delicate connection between a loose page and a fraying ancient sleeve fragment became apparent. The psychological and structural link between old diary “leaves” and clothing remnants made an impact on the artist; both of these served as visual metaphors for impact on the artist; both of these served as visual metaphors for a series of garment fragments of handmade paper on gauze called Remembrandts. They are actual pattern size objects (abstract fragments) that associate to other times and places. “A fragment of clothing torn out of context like a page from a book has a mysterious ambiguity and historical reference.” The Remembrandts are not wearable, but like the theatrical costumes that inspired them, they lead the willing viewer into the artist’s world.