Rauschenberg's extended work over two and a half years on the book XXXIV Drawings for Dante's Inferno convinced Tatyana Grosman that the artist was destined to work on lithographic stone. Rauschenberg recalled that she was persistent in her efforts to get him to the print workshop at ULAE, located outside of New York City where the artist had his studio. "She reminded me of it about three times a week for a year, and I thought 'I'm awfully tired of that old lady calling me.' So, one day I said 'I'll fix her, I'll just say yes.' And I was on my way."