After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.

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 think you say the word in your mind anyway, you know. When you look at a word, you say it.

And yes, there are things I want to keep, that I like around me - especially when there's very little left. I just want to keep those little bits of reminders of my past. There are certain drawings from the '60s; certain little paintings from the '60s that I keep.

I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.

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

I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.