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

For a thorough use of ice cream cones, buy two; eat one and drop the other.

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.

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.

Chicago has a strange metaphysical elegance of death about it.

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

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.