I'm always careful to say that I changed everything I found.

Because my work is naturally non-meaningful, the meaning found in it will remain doubtful and inconsistent - which is the way it should be. All that I care about is that, like any startling piece of nature, it should be capable of stimulating meaning.

In 1958 I finally found a large enough apartment on the Lower East Side, where I reverted to figure painting. I drew and painted quite a lot of figures and nudes. People would come and pose for me.

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

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.

I got a little studio in Chicago and practiced. I realized I had to earn some money. So I went to work for an advertising agency where my job was mostly drawing insects for a company that sold an insecticide spray.

Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too.