I want pictorial content without sentiment, but I want it as human as possible

What attracted me about my mirrors was the idea of having nothing manipulated in them. A piece of bought mirror. Just hung there, without any addition, to operate immediately and directly. Even at the risk of being boring. Mere demonstration. The mirrors, and even more the Panes of Glass, were also certainly directed against Duchamp, against his Large Glass.

It was not possible for us to produce the same optimism and the same kind of humour or irony. Actually, it was not irony. Lichtenstein is not ironic but he does have a special kind of humour. That's how I could describe it: humour and optimism. For Polke and me, everything was more fragmented. But how it was broken up is hard to describe.

I have no motif, only motivation. I believe that motivation is the real thing, the natural thing, and that the motif is old-fashioned, even reactionary (as stupid as the question about the meaning of life)

Now there are no priests or philosophers left, artists are the most important people in the world.

The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interst - and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.

Maybe we didn't even have a chance. The message of American Pop Art was so powerful and so optimistic. But it was also very limited, and that led us to believe that we could somehow distance ourselves from it and communicate a different intention.