what kind of brain tumor did eve hesse have
Shortly before her death, Eva Hesse received the writer Cindy Nemser in her room at the Memorial Sloan-Kettering Cancer Center. Next to Hesse’s bed, Nemser saw the newly-printed May 1970 Artforum, for which she’d interviewed the ailing artist. Her interview was featured on the cover. Beside the magazine was a bouquet of spring flowers. “Do you see these?” Hesse asked Nemser. “They’re from a big collector. I finally made it, didn’t I?”
This immediacy may be one of the prime reasons Hesse was attracted to latex. Her first two works in that medium, Schema and Sequel (1967–68), are both made up of cast latex objects arranged on a thin latex mat. In the case of Schema, the objects are half-spheres arranged in a 12 x 12 grid. For Sequel, the half-spheres have been joined to make imperfect latex balls that are piled on the pad at random. Like Untitled or Not Yet, these pieces exist only in their installation. And though the mat serves as a sort of frame or platform, the suppleness of the fresh latex reveals every crevice of the floor below, serving as a continuum between the art and the space that holds it.
Not every supply in the artist’s studio is safe, science has taught us.
Katharina Fritsch’s Hahn/Cock, in fiberglass and polyester resin, ascended to Trafalgar Square’s Fourth Plinth in London in 2013. (Photo by In Pictures Ltd./Corbis via Getty Images)
Eva Hesse is associated with the Postminimal art movement. Arthur Danto distinguished post-minimalism from minimalism by its “mirth and jokiness,” its “unmistakable whiff of eroticism,” and its “nonmechanical repetition.” 
Hesse was among the first artists of the 1960s to experiment with the fluid contours of the organic world of nature, as well as the simplest of artistic gestures. Some observers see in these qualities latent, proto-feminist references to the female body; others find in Hesse’s languid forms expressions of wit, whimsy, and a sense of spontaneous invention with casually found, or “everyday” materials.  Prominent artists that have noted her as a primary influence include Japanese artist Eiji Sumi 
Her work was included in the “Anti‐Illusion” show at the Whitney Museum last spring, and in the exhibition title “A Plastic Presence” at the Jewish Museum last fall.
Among the museums that had purchased her work were the Museum of Modern Art and the Whitney Museum of American Art.
Lesson 1: Be stubborn.
Lesson 5: Nothing is off limits.