Any artwork is part of something larger, grander and, you know, the situation that it's in is very important.

I went to Our Lady of Mercy, parochial school and I started Fordham Prep, but that only lasted about a year and then I - to me, it was like going to some kind of concentration camp. I was not very happy. And I only went there because that's where my brother went, really.

I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.

The idea of the culture that you live in determining meaning in your art, though, is a very important aspect of what art would be about. But that had more to do with the kind of general understanding of what the hell you're doing, you know.

Developing your own style became something very interesting, very important to me.

reaking up the space and using the space, using the length of the space, the height of it, whatever, the light, all of those things. It's something that you have to kind of slowly recognize in your work and develop over years of making work.

I'm always looking for relations between my work and the old masters.