There is a political and racial context behind everything that I do. Not always because I design it that way, or because I want it that way, but rather because it's just the way people look at the work of an African-American artist in this country.

I think it's really useful to create parameters. The term you use can be forwarded into something more like a grid, a rubric, a system that you apply to all environments, and in so doing you create a situation in which you can locate local color, local differences within new environments.

What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

I think that the Kehinde Wiley brand is something that I'm working towards expanding and to inclusion.

He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.

In America, there's this type of expectation of just-add-water celebrity, this type of, "Of course you found me; we're all going to be famous for 15 minutes," sort of Paris-Hilton-ization of society.

This is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.