I think the world that I grew up in was like being in this sort of magical artistic garden.

When the fat lady comes out to sing, we don't know how she feels that day. We don't know if she's suffering from a cold or is mourning a death or falling in love. We don't know. But so all of that chance is the performance.

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.

I happen to be a twin. I grew up half of my life with someone who looks and sounds like me. And I believe it's possible to hold twin desires in your head, such as the desire to create painting and destroy painting at once. The desire to look at a black American culture as underserved, in need of representation, a desire to mine that said culture and to lay its parts bare and look at it almost clinically.

I feel sometimes constrained by the expectation that the work should be solely political. I try to create a type of work that is at the service of my own set of criteria, which have to do with beauty and a type of utopia that in some ways speaks to the culture I'm located in.

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

The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about or even looking at.