AM: Beginning with when the work was installed there was vandalism where it could have occurred. The sculpture was put to a test. It is a rough area. The work wasn’t guarded. The sculpture that wasn’t strong enough or was easily accessible was taken or destroyed. That was pretty much all during the first week. The way the show is now is pretty much the way it was then. Any vandalism that did occur happened fast. Except for the graffiti which is continuous. Christy Rupp’s sculpture, which was a collection of papier-mâché monkeys, was not placed completely out of reach. People went out of their way to take them home. They’re collectible.

RH: She liked that very much, actually, that people had to act like monkeys to get the monkeys. Several people I know saw them on Clinton Street which is adjacent to the bridge and a concentrated drug and hot goods market. The people were very proud of their new monkeys.

— Ann Messner and Rebecca Howland, interview with Jenny Dixon about the Williamsburg Bridge Show, WNYC, June 6, 1983, ABC NO RIO DINERO: THE STORY OF A LOWER EAST SIDE ART GALLERY