Most of my work comes from ideas. I can usually do only a few versions of each idea. Land Art and Body Art were particularly strong concepts which allowed for a lot of permutations. But nevertheless, I found myself wanting to move onward into something else.

The photograph gives constant reference to the rectangle. This forces any idea into the confines of pictorial illusionism.

Turning something upside-down elicits a reversal of content and pointing a steeple into the ground directs it to hell as opposed to heaven.

An artist works through exposed wounds.

Make things that carry with them the residue of where they have been.

[The photographs] were there simply to indicate a radical art that had already vanished. The photograph was necessary only as a residue for communication.

You can't understand how strange it was to be a sculptor who exhibited photographs. (On exhibitions of his earthworks and land art pieces.)