I was poorer than anyone I'd ever met. But it was a great time to be a young artist - I remember it as a period of exceptional creative freedom and adventure, when one was regularly presented with works of art unlike anything one had ever seen before.

I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.

In Britain the power of authority was weakened. There was much more individual freedom and there was great academic freedom.

The person you admire was true to himself. You can only truly honour him by being true to yourself.

I am trying to present objects in the simplest way possible, and I don't want to supply too much context.

All the basic information should be in the object itself.

When I was in Wuhan, I went to the art school, which was one of the most important art schools in China, an enormous art school. One of the things that I saw is that the schools are very big and there are so many students. It is very difficult to me to teach creative activity to great numbers of people, because I think you need personal contact with students, you need to speak individually, you need individual contact between teachers and students, you need continuity. To me this is a problem in mass education in every society now.