People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.

I would imagine that what you try to do is to - is to be as sensitive to the environment that surrounds you as possible. As you see, my work has become increasingly global. My presence in the world has become increasingly global.

What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

I think the world that I grew up in was like being in this sort of magical artistic garden.

There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist.

At the same time I really enjoy painting flesh.

As a twin, I operate with twin desires.