I think it's a waste of time to worry about the motives of why people are supportive of things. I think we should look at the thing itself. And if they're supportive of something that's sexist or racist, then it's a bad thing, but it's not because they're supportive of it that it's a bad thing.

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.

Accreditation. The "doctorate of fine art." I've never heard something so stupid in my entire life.

There is a primacy of each individual object. And we'll see! That's the whole point of making sculpture, to present a question in a physical form to people.

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?

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.

The art schools seem to be trying to turn people out as "professional." But I don't know what the word "professional" means any longer. "Professional" would be somebody who was trying to push painting to a point that nobody else could do as well as he could. That would be my ideal professional.