I started to draw buildings. I called them Proposed Colossal Monuments - they weren't for real, not for actual building. It was more a critique of architecture.

I had no idea what art was. There was one art class in high school, but it didn't make a big impression on me. Then I went to college and thought I'd become a writer.

Art is a technique of communication. The image is the most complete technique of all communication.

Food is like clay; you can sculpt with it. Also it has an odor, and you can eat it. I don't eat a lot of cake, but I do make cakes! And unlike the Campbell's Soup Cans, my food is a humanized form and scale.

I'm in favor of an art that does something other than just sit on its ass in a museum.

I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.

Of course, the '60s was a study in decadence. Everything just got worse and worse, and at the end of the '60s, everything was so horrible that people were killing each other.