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.

I veer more toward the philosophical and the poetic than I do toward the alert and angry.

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

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

There was a great sense of community mainly among the women artists at the time because we felt left out. I still know most of the women that I knew then, the ones that are still alive.

Flying used to be so great but now it's more of a trial.

Very early on I was interested in doing political art, but it was not feminist political art.