A recently published article by Arthur Lobow for the New York Times reveals not only fascinating insight details about the world of renowned deceased artist Louis Bourgois but also confirms the news about the opening to the public of her townhouse in Chelsea this summer. The Easton Foundation, a nonprofit organization which Bourgois set up in the 1980s and is currently directed by her assistant and friend for 30 years Jerry Gorovoy, has helped open the house to small arts-related groups, and this summer, the house will be accessible to the public, through tours arranged on the foundation's website,theeastonfoundation.org. Her two surviving sons, Jean-Louis and Alain, also serve on the foundation's board. Shortly before she died in 2010 at 98 years old, Bourgeois purchased the adjacent house from her neighbor, the costume designer William Ivey Long. It now functions as a small exhibition gallery of her work, temporary quarters for visiting scholars, as well as a library and archive. Lobow described the house as "Five years after her death, (it) still feels inhabited by the woman who called it home. Dresses and coats hang in the closet. Magazines and diaries fill the bookshelves, which display the breadth of Bourgeois's interests, including the "Joy of Cooking," the Bhagavad Gita and J.D. Salinger's "Nine Stories. A sense that at any moment Bourgeois might walk through the door is heightened by the atmosphere of bohemian dilapidation (…) Crude patchwork testifies to the cave-in of a plaster ceiling. A two-burner gas hot plate that fills in for a stove and an ancient television that stands next to a small metal folding chair further the impression of a home not ready to receive company. "I'm using the house," she told a visitor, when she was in her mid-70s. "The house is not using me." Bourgeois and her husband, the art historian Robert Goldwater, whom she met in her native Paris in August 1938, and married a month later purchased the townhouse in 1962 for less than $30,000. She moved with him to New York, where they raised three sons. Upon Goldwater's death in 1973, Bourgeois reconfigured the house "drastically"*. In her years as a wife and mother, Bourgeois used the basement for her work. "It (the house)has a heart and a soul. People are very moved when they come here (…) If the floor was good and she could stand on it and it would hold the sculpture, that's all she cared about," Mr. Gorovoy explained. "She was not interested in decoration or embellishment or pretty things." "Louise always described herself as a woman without any secrets," Mr. Gorovoy remarked. Lobow ends his article paraphrasing the artists remarks "Her life was an open house". *Arthur Lobow "A Look Inside the Louise Bourgeois House, Just How She Left It", New York Times, January 20th, 2016.