I was in a group show at a museum in Torino, a lot of American artists installed in a floor of this museum. Another floor of the museum houses the most refined collection of arte povera in the world, which is perfectly selected and perfectly installed. I remember being struck by the contrast between the Italian works and the American. I would say the hallmarks of the Italian style are a poetical connection to nature and to materiality, materials, and exquisite taste. On contrast, the American work was essentially a bunch of bad-tempered, complaining kids.

I was actually dumbfounded by how some artists talked to each other. For example, it was a normal night at a bar, nothing very momentous, when in walked a painter. The other painters at the bar had a bit of an attitude about it. One said to him, "You know, I'm tired of that feeling of hot air coming out from behind your work." And I thought, "Well, that's interesting." I didn't know you could even think something like that, let alone say it right to someone's face.

People tend to remember and mentally classify work according to how it looks, sometimes oblivious to the underlying intent.

It's a mistake to ask a work of art to be all things to all people.

I've always read, I've always admired writers and was lucky really to meet some extraordinary ones and become friends. Certain times you just like people, and it grows out like a nautilus shell.

I do work hard at trying to find the right expression for something, which might be like finding the right image - choosing not only the right words but down to the right number of lines. I remember being in Maine once at Colby College with Alex Katz. It houses hundreds of his works. There was a painting of just one seagull against a blue sky. I was admiring it and Alex said, "45 brush strokes exactly."

There was a review by Fairfield Porter from the 1950s about Mark Rothko, one of the more hallowed names in American art. Porter says something like, "Yeah, Rothko paints rectangles of color. They have mass but no weight." That's not in any way a detraction, but it's a description. And it has nothing to do with the spiritual dimension. The main thing is as an intelligent viewer, to identify just what those things are that it does, that those rectangles do, and then not assume that they do these things over here. I don't know why that's challenging.