I'm in favor of an art that does something other than just sit on its ass in a museum.

All the fun is locking horns with impossibilities.

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 an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

When you're working with an object, you can put in almost anything you want, you can make it abstract.

I went back to the Art Institute, then spent the summer at the Ox-Bow School in Saugatuck, Michigan. That's what really awakened me. I made a lot of oil paintings and my first performance.

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