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.

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.

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 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.

The right angle is one of the world's basic shapes.

The art world was very small and the people got together at parties. There was less commercialism.

I was very happy to be living in New York at that time, more than in the present time. Now it's all commerce.