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 had always worked. I always had part-time jobs.

Everybody is always satisfied with what I do.

I always thought there was a - even in the most, quote, "conceptual art," there is always a physical aspect to it. I never knew what the term meant.

I'm used to being the background. I'm used to having work that only lasts for a little while. I'm used to being - working in the real world, where real things are.

You know, there are some people who just don't - that cannot get comfortable behind the wheel of a car and always sort of think they're going to kill somebody.

I was at one point thinking about being an art historian, when I was in school. And not being an artist, but I decided I was going to be an artist but I'm really mad for art history and the masters mostly.