Now "professional" seems to be whoever you went to school with. It constitutes your nuclear world. And that's the fault of the teachers; it's not the fault of the young artist.

People, buying my stuff, can take it wherever they go and can rebuild it if they choose. If they keep it in their heads, that's fine too. They don't have to buy it to have it - they can just have it by knowing it.

There is a discrepancy of somebody going to an art dealer and promising what they'll make for the next three years. And I'm old fashioned that way; I think that every exhibition you make is supposed to put you in the world, that the next exhibition is spinning off of that. It's almost like a riff. And if you know what you're going to do for the next three years, why don't just do it the final point? You would think, in a progressive situation, that the final would be the best.

Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?

Artists try to ask questions, and within our society, unless there are artists, those questions don't get asked. And everybody blames the market.

Now "professional" seems to be whoever you went to school with. It constitutes your nuclear world. And that's the fault of the teachers; it's not the fault of the young artist.

Skills come with age, but wisdom, I doubt it very, very much.