Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.

Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goals.

The precision of their goals allows conceptual artists to be satisfied that they have produced one or more works that achieve a particular purpose... a problem solved can free him to pursue new goals.

Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.

The people who do better and better work are people who are never satisfied. Cezanne would say, 'I think I've accomplished something,' but then he would immediately add, 'But it's not enough.

Artists have made innovations in many areas... But whatever the nature of an artist's innovation, its importance ultimately depends on the extent of its influence on other artists.

It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.