I think that I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

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

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 enjoy Chicago as one of the great American cities. When I come here and take a taxi from the airport, I meet a young man from Somalia. I meet a young man from Eritrea who engages with this nation with a sense of hope and a sense of desire. But we also we know that there are other elements of this nation that are toxic.

I've had moments where I've met people who were complete, like, idiots, who could not understand visual culture to save their lives.

That's the trouble with, I think, my - the contemporary read of my work. So many people just simply say, "These are pretty pictures of black boys." They're not really thinking about, like, what the whole thing is.