You have to bring books to explain your work.

The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale].

I love being able to have a team.

In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.

I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.

There's something really cool about being able to fly to South Africa and watch one of the most talented African footballers wearing a shoe on the field.

I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.