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

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.

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.

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 was out in California over the holidays and I was working with some photographs I took out there just now, actually, which were all different photographs of the sunset. They're really interesting because El Niño has changed the cloud configuration, not only the sea, but also the whole makeup of the clouds, the sunset, and the different gradations of color and tonality. So it'll be interesting to work with that.

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.

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