Most people say, "Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this."Another way of looking at these paintings is, these are the guys who said yes.

And as a young black man, a lot of my professors would really think that it was useful to see the work of politically oriented, positivistic, leftist creative works. And I found it incredibly useful. And I found it something that I've learned from and gained from.

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.

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

So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.

All art is self-portraiture.

All the world's a stage. P.T. Barnum: It becomes a circus. But circuses or street pageants or parades have always been useful in a society.They've always been useful as a way of critiquing power. The carnivalesque has always been useful as a way of the powerful being mocked in a public space.