And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.

If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.

Everything we choose in life for its lightness soon reveals its unbearable weight.

If you get it out into the urban field it's going to be used or misused but it'll also probably provide a way of people acknowledging what the aesthetic is about because people have to confront it every day.

I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment.

But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play.

I think different people have different problems and different relations to the exhibition of their work.