I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.

Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.

I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. If this work is considered incorrect, all the better, for my attempts aim to undermine that singular pontificating male voice-over which correctly instructs our pleasures and histories or lack of them.

There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I've always been very tied to language.