That should be something that an artist can respond to as well in terms of a painting.

What's interesting about my project recently is that I'm going out into broader global spaces but then isolating at the same time - sort of pushing out but then pulling in.

I believe that artists should be part of the culture. I think that my work clearly bears that out.

You know, the process, I think, is the story. And it goes back, again, to what I said about chance and about radical contingency, the idea that all of this is this well-oiled machine that's been reared up and, like, really articulated and thought about.

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

When I went to the Studio Museum in Harlem, there was a type of freedom that existed where I didn't have to think about professors, where I didn't have to think about much of anything other than my own practice.

You have to bring books to explain your work.