I think that an obsession with art history gave rise to the work.

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

This is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.

I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.

In some way they are all self-portraits, but I think I know what you mean by asking this - I would say, it is too idealistic to paint yourself.

The artists ultimately respond to the public.

I think that the Kehinde Wiley brand is something that I'm working towards expanding and to inclusion.