Minimalism itself had a very strong iconoclast impulse. You think of the sixties as loose and liberated, but in art it was actually quite the contrary.

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.

Comic books, graphic novels, involve constant toggling and it's hard work. You get tired reading comic books, but you never get tired looking at pictures or reading words.

The problem of making artists talk about their work is that when they're making their work the left-brain is shut off. So if you talk to an artist about it, you're talking to someone who wasn't there. It's hopeless.

There is an ineffable but fatal difference in attitude between people behaving naturally and people behaving naturally for a camera.

Artists are sometimes in a position to tell the truth, but they're positioned as a Cassandra. They're gifted with impeccable prophecy and the assurance of never being listened to.

Black and white can show how something is. Color adds how it is, imbued with temperatures and humidities of experience.