It was Peter Halley's idea to do a magazine. His thinking, if I remember correctly, was that the art world at the time, and this would have been in '95, wasn't very exciting. He wanted to connect with a larger cultural world — with movies and music and fashion, with architecture and design — and thought a magazine was the best way. He had, of course, the Warholian model of Interview magazine. Interview, at least in the beginning, was Warhol's way of getting close to celebrities and famous people who he could then talk into having their portraits painted, and at about $25,000 each. The Factory would have increased cash flow, and the paintings would also help fund the magazine. There wasn't going to be a similar pay-off for Peter because he didn't exactly paint portraits. He painted abstract cells and conduits. At one point when Index wasn't going well, he had to sell a Warhol painting he owned, a small Electric Chair. It must have been incredibly difficult for him to do, and heartbreaking, and in retrospect I wish he hadn't. The magazine wasn't worth it. So in starting the magazine, Peter very much wanted to move beyond the insular art scene, and after being in it for over ten years, and maybe getting as famous as was going to get, it didn't offer any real surprise or challenge. Peter must have seen Index as his conduit to other and more exciting scenes. He had wanted to call the magazine "Pop," which I really didn't care for. I mean, start an interview-format magazine based on Warhol's Interview and call it Pop? One day, I was at home writing, as usual on my typewriter — I didn't have a computer until after we started the magazine — and noticed that one of the keys said "Index." That's where the name came from.
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