I have found, and most artists are probably this way, that [when] you're working on some kind of idea, the idea makes demands.

One of the reasons that I went to Mexico aside from the Maya and the pre-Columbian aspect of it was that I wanted to work with [Diego] Rivera, which I did, on a mural that he was painting at the time. But at some point I realized that I wasn't going to be a political artist, it just wasn't in my repertoire.

In fact, in the history of a lot of cultures there is a theater. For example, there are the theaters in Java, [Indonesia] and of that area where they use puppets and they have backgrounds and shadows.

I find great satisfaction in the rigorous structure of the grid, but I like the organic on the grid so that there's a combination of structure and chaos.

I did live in Paris for three years and I prefer New York.

The cultures of the Americas were extremely complex and interesting, with their own languages and observatories to watch the stars. The more you know about them the more you realize how extremely impressive they were. Bloodthirsty, though, I think they were as well.

Fortunately, when we have all our marbles, we can shift our memories very quickly.