I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.

I think what we should concentrate on is what it feels like to be a working artist in the day to day. One doesn't imagine what comes down the line.

I have been painting white people for much longer in my life than I have done for colored people.

I mean, the radical contingency that is - that exists and the fact that I'm going into the streets and finding random strangers any given day - who's in these streets that day?

Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.

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.

I noticed that the work of my non - I noticed that the work of my friends who were white and male, specifically, existed in a type of freedom that was not bound by certain political questions and assumptions and locations.