I think that one of the questions that I asked of myself in later years was to this point of the political directive.

Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.

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

Mel Bochner was able to give me the tools to look at those types of experiences, register them with my own, but also hold them far enough away to see them 360.

Usually I bring very attractive women with me to excite interest. I mean, it's a type of, like, strangers-with-candy situation.

What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

Is it the responsibility of the colored artist or the ethnic artist to create works that are designed to exist in opposition to a certain political structure?