I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

Art used to make me see the world differently, think about things in a new way - it rarely does that for me anymore, but technology does that for me on a daily basis.

Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry.

I never wanted my books to be mistaken for poetry or fiction books; I wanted to write reference books. But instead of referring to something, they refer to nothing.

New York City is just one node on the global cultural scene. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist feels local and small. Social media feels now.

I wonder if Karl Ove Knausgård would've written the same books today had been using Twitter. It wasn't around when he was writing those books. Those books were written during the age of the blog, with its big verbiage. The landscape has completely changed today.

Conceptual writing is looking for that "Aha!" moment, when something so simple, right under our noses, is revealed as being awe- inspiring, profound, and transcendent.