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.

My rule was not to paint things as they were. I wasn't copying; I was remaking them as my own.

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

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.

Andy [Warhol] was on the scene, but he wasn't an artist at first; he was more an illustrator. He was always surrounded by about ten people who worshipped him. He'd go to a party and they would all come along. But he was drawing shoes and that sort of thing.

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