 A restorer repaired the hole but applied a coat of heavy varnish to the entire painting that interfered with further work.Elaine de Kooning's article on the painting, with photographs documenting its progression through various alterations and transformations, had a significant role in gaining wider recognition for Dickinson.It is likely that the photographic record of the painting's protracted evolution and numerous revisions gave Elaine's husband, Willem de Kooning, the idea of working on a painting ("Woman I") over an extended period (June 1950 to January or February 1952) and documenting the changes with photographs.