You couldn't forget Pablo Picasso, Henri Matisse and Joan Miro either. And it had to be, you know, at least as good or better.

What you see is what you see.

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.

I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.

I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.

All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion…What you see is what you see.

Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.