I think it's impossible to know the destiny of things.

In memory of Emily we would like everyone to go out and do random acts of kindness, random acts of love to your friends or your neighbors or your fellow students because there is no way to make sense of this. It's what Emily would have wanted.

Face, to me, is a metaphor of sadness. And I want to share this sadness. I'm not really interested whether it's an Indian face or not - that's not as important for me. But it's still important to establish the relationships in order to bring about a consciousness of our fragility.

I am an architect. I try to feel the transparency in contemporary buildings and I try to understand the transparency in Zen poetry. I just want to mix all those things.

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.

It's very hard to try to be a cultural . . . people who organize cultural things . . . it's very complicated. And more so in a country like Guatemala.

Fortunately I don't want to be part of the mainstream. When I see a Kiki Smith work, for example, she's very contemporary, and I feel a lot of emotion in each of her pieces; I think she understands our time, and she makes really interesting art because of that.