I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.

I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I'm interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.

The place of the arts in the classroom is essential in encouraging invention, ambition, and an understanding of the importance and pleasures of living an examined life.

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.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

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

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.