Flirtatious Intermezzo

I had been told about a conference at the contemporary art museum in Brussels that spiked my interest and decided to pro-actively remember the date and time of the event and actually go. The lecture was held by a New York curator and examined the relationship between the renaissance approach of ‘intermezzo’ in the theatre and contemporary art. The conference was remarkable; I had a little Calarts nostalgia while listening to this precise yet chaotic geyser of information, the educational yet challenging language. The New York accent added to the general sense of: 'I might just get on a plane to JFK, go straight to Brooklyn and order myself a dirty martini, real dirty please’.
Anyway, point is, the lecture was amazing and following my fantastical ways, as time and words went by, I started finding this curator more and more good looking, and charming and wouldn’t it be wonderful to have a little something with an art theorist of this calibre… At the end of the lecture, he opened up to the expected Q&A and I couldn’t help but ask meticulous questions and play the devil’s advocate to test the guy. Disconcerted at first, he eventually started playing the game a little which satisfied me entirely. At the end of the event, I walked up to him to ask him the name of an unknown yet incredibly cutting edge piece at the time by artist Picabia. He admitted having forgotten the name but wrote down his email address for me to contact him, it would come back to him eventually. He then proceeded to get up and introduce himself to me. The unfortunate circumstance of this first physical connection resided in the fact that the man was over a foot smaller than me.