There are people who speculate at objects. I don't think that makes them evil or not evil. It doesn't matter; in order to speculate, it has to be made public. Once it's made public, it's functioned is art.

I only work in relation to what the work is about. Yes, of course, if the world's coming to an end I would basically try to get out of the way when the sky falls.

There's a radical change in the relationship with the human being and society. Art now is an open conversation with the society. Previously there was a necessity for a little bit of screaming and shouting just to get it into the conversation.

I would imagine, a very large percentage of people who get something for art and they do something else, and they have some excess resources. And they trade those resources with artists whose work makes them feel good, or feel better, or question. And the artist, if they're smart, they use it to buy the most expensive thing in the world: time to make more. The more that come, the better it is for these people, their children, the people they care about, fills the society with a real constant thing.

What art is not processed? "Conceptual art." Somebody making a painting has to conceive of the size. I don't understand where these words came from. I can't accept the fact that the concept of art as our concept of humanity is expanding.

I stopped painting, not because I didn't like painting; the sensuality of it was fun. But I wasn't able to get to the point I wanted to.

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.