In this context of achievement-and-death, artist who make Happenings are living out the purest melodrama. Their activity embodies the myth of nonsuccess, for Happenings cannot be sold and taken home; they can only be supported.

This everyday world affects the way art is created as much as it conditions its response.

A walk down 14th street is more amazing than any masterpiece of art.

The line between art and life should be kept as fluid, and perhaps indistinct, as possible.

Objects of every sort are materials for the new art: paint, food, chairs, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.

I am not so sure whether what we do now is art or something not quite art. If I call it art, it is because I wish to avoid the endless arguments some other name would bring forth.

Our advanced art approaches a fragile but marvelous life, one that maintains itself by a mere thread, melting into an elusive, changeable configuration, the surroundings, the artist, his work and everyone who comes to it.