So it sort of dawned on me that you have to build into your work the fact that it's going to be shown in different kinds of places and different kinds of light. And the fact that the surroundings and where you're going to be shown is always changing, so that should really not affect the meaning of the work. It should be part of what the work is about.

I loved music. Music was a big thing and so I started collecting records. I had a large collection of jazz records and that was something else I used to listen to. At night, there was a - what the heck was his name? There was a famous - Jazzbo Collins, I used to listen to at night, and some other guys.

The Vogels were quite strict in what they acquired. They never acquired a projection. They never acquired a sound piece. They were never big on photos that much, unless it was photos documenting something. They had some limitations into what they bought.

A word refers to something in the real world and so, in a way, does a photo. It's not the thing itself, but it's a kind of suggestion of where you might look for that thing.

By being critical, you also develop your own style of what you like, what direction you want to move.

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.

I consider drawings finished works of art, first of all. However, the ideas can be something that can be developed into something larger. I don't make so many drawings anymore since I'm working with language. I used to make more when I worked with sculptural things, especially the wire pieces.