one person who saw the quilts on exhibition back then was sanford biggers. tion, which owns five gee's bend quilts, wanted biggers to explore and address them through his own work. >> first thing i see is rhythm. there's a visual movement through the color and a retinal type of pacing that happens when you look at them, which are, was one of the hallmarks of a well- composed painting, is how the eye can move and dance around it. and these do that immediately. >> brown: biggers constructed a three-dimensional quilt sculpture, and, having studied buddhist culture in japan, decided to find his rhythm in a mandala sand ¡quilt' painting. he was helped by museum assistants trained in this unusual al. add it up and it's an endless kind of ¡play'... especially when you have all of art history to play with. >> i think that's once again what artists do. the trick is to find your voice within that. within the realm of possibilities, how do you find a voice and what are you saying with that voice? >> brown: and have you foundt? >> i have multiple voices. i have a chorus.