Peter Ralston’s article “Betsy Wyeth’s World is an Island in Maine” and Paul Theroux’s essay “Art Notebook: On Allen Island” both focused on Betsy Wyeth and how she made her vision for Allen Island a reality. Paired with the readings from Daniels and Cosgrove, it made me think about our discussions over the semester about place, time, spacetime, and authenticity. Allen Island was definitely a space before Betsy bought it in 1989, but was it a place? For the two fishing families that Ralston mentions, yes it was, but only during certain months of the year. The island would come alive during the summer months when the summer school was in session, but lay dormant during the rest of the year. The question I struggled with is if Betsy improved this place or if she made it her own – a completely different place. Ralston says, “Betsy’s vision was that of resurrection, of reestablishing a community at sea.” In this sense, yes she changed it. However, she did so with a gentle hand that made sure to not disrupt the sacred feel of the island; the elusiveness and isolation that the island radiates. This is evident in her use of the the sail loft as the museum of the island. The building holds the artwork and history of the island within its walls, while holding the history of the surrounding area in the wood and bricks of the building itself. Betsy did put her own stamp on the island but did so carefully, trying to maintain authenticity she feels of the island. Just as the canvas was Andrew Wyeth’s mode of artwork, the island itself is Betsy’s.