I am for an art that tells you the time of day, or where such and such a street is. I am for an art that helps old ladies across the street.

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

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 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.

Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.

There's always been a potential erotic possibility with objects.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.