You'll find that street casting in America is a lot different than street casting in different nations.

My peers at the time: you know, young black kids from off the streets of Harlem, having these conversations with me in my small, dirty little studio up in Harlem.

Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.

What it is is a type of editorialization, you know? This is self-portraiture. This is what you think about the world we live in.

Usually I bring very attractive women with me to excite interest. I mean, it's a type of, like, strangers-with-candy situation.

I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.

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.