They asked me to do a show, and I was planning on showing my figure paintings. But my friends told me I shouldn't - the paintings were good but a little old-fashioned. They said, "Why don't you show the other stuff?" I had also been making rather strange objects, more in the Freudian tradition.

I am for an art of things lost or thrown away. . . I am for an art that one smokes like a cigarette. . . I am for an art that flutters like a flag.

There's always been a potential erotic possibility with objects.

If I didn't think what I was doing had something to do with enlarging the boundaries of art, I wouldn't go on doing it.

I am for an art that tells you the time of day, or where such and such a street is. I am for an art that helps old ladies across the street.

Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.

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.