The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.

Your medium has to be alive to you, no matter what you do.

There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers.

Photography is the art of anticipation, not working with memories, but showing their formation. As such, it has relentlessly usurped imaginative and critical prerogatives of older, slower literature and handmade visual art.

It's my duty to sell the ideas. But there's always a question when it comes to beauty.

Love and fear, the two strongest emotions we have. It all starts with emotion.

Smithson was someone of tremendous significance whose work was not beautiful at all. I think he was an iconoclast.