You can't just suddenly change gears and reverse yourself or go to the left or the right because there is no left or right. There's always a certain direction that you're moving in.

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

And when you are operating within your style, which is your world, which you operate in, then it also would make sense to you. Now, whether it makes sense to anybody outside is besides the point really. You just do it and then you find that other people kind of begin to relate to it and allow themselves to get into your way of thinking about things.

If somebody gives me a chance to do something, I am going to use that space, that time, that light, that whatever it is and try and work with it.

Teaching I realized took up a lot of my time. I was a kind of a teacher that spent time with students, spoke to them after class, tried to help them out. I'd talk with them personally about their work and try to get out of them what they were thinking about, forcing them to thinking seriously and not just falling back on all the ideas that they had picked up someplace. And so I took my job teaching very seriously and that - as a result, it took up a lot of time.

And when you see artists like Donald Judd and so forth being referred to as conceptual, what the hell does that mean? It's a totally meaningless term.