I am for an art that grows up not knowing it is art at all.

The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.

I am for the art of underwear and the art of taxicabs. I am for the art of ice cream cones dropped on concrete.

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.

Ox-Bow was a very free place, very open. You could do whatever you wanted to do.

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.

Mine was not pop art. I maybe started with a subject, but I changed the subject.