People approach people of color with preconceived ideas. I don't think this is just restricted to white people, but I think that lots of black and white artists, when race is a subject matter, they put race or the ideology around race first. They don't see the person and the complications of the human being.

It's very hard to find artists in the history of western art who don't make portraiture ideological in some way.

I'm very interested in the question of how we perceive something, how consciousness goes from one thing, like looking at you in your black hat to what it might mean to my imagination and how I would draw that or write that, how I would subjectify you? It's something that is endlessly interesting to me.

I had to re-write "Philosophy" a lot. It was more obscure than what's in the book now, even! Some things I had to go back to and excise my former self, who was even more dense. I think you should teach whatever you want, Brian! That's the point of books like White Girls, to help free our thoughts!

Claudia Rankine's Citizen comes at you like doom. It's the best note in the wrong song that is America. Its various realities-'mistaken' identity, social racism, the whole fabric of urban and suburban life-are almost too much to bear, but you bear them, because it's the truth. Citizen is Rankine's Spoon River Anthology, an epic as large and frightening and beautiful as the country and various emotional states that produced it.

I think writing is an act of remembrance, I think that Instagram is an act of remembrance, and I think curating a show is an act of memory, too.

Inspiration takes many forms, but it's rarely pure.