But that goat. It resonated with a strange energy that went beyond wall labels and neat definitions. I didn’t have words for it then. The docent told me that, if I came back the next day, we could talk about Rauschenberg some more. I did go back the next day, and the day after that, because what that marvellous woman was giving me was something I hadn’t known could be given: a way of looking that language only deepened. I wanted to know more about the artist and about the world that had made both him and that goat. Together, they prompted me to see.