The desire to constantly experiment and search for new methods of creating formed the basis upon which many of Boris' teaching techniques rested. He was always drawn to students because their playfulness, openness, and engagement in life mirrored his own attitude toward life. Throughout his long and distinguished teaching career at such institutions as the Art Institute of Chicago, Syracuse University, the Universities of Illinois, Michigan, Minnesota, and many others, Boris taught students to be inventive and true to their inner vision. He always felt that teachingis not only an exhilirating occupation, but an arena in which to test out new ideas, and from which to draw energy and satisfaction.

Marc Rothko, with whom Boris shared a studio in New York City, also had a house in Provincetown. He would occasionally visit. One day while I was painting, Rothko appeared and asked, "What are you doing?" I answered that I had decided, after much soul searching, to become an artist and was studying with Boris. He replied, "Do anything but become an artist, it's a miserable life." Boris looked pained and later talked to me about art as salvation and as a sacred profession.

Art for Boris overrode everything. His dedication to his art was so complete, he even decided to forgo having children of his own; my brother and I were fortunate to fill the gap for this man who so loved and understood children. The three of us spent Sundays at the Metropolitan Museum and the Automat, and spent every summer together. Oblivious to physical comforts an immune to materialism, he cared little for the practical aspects of life.