I do like certain kinds of frames for work. That's important.

Words have very potent meanings and people read them and they react to them personally. They are very suggestive in terms of your life and things like that.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

I didn't like anti-Vietnam War art. I didn't like feminist art. I thought it was heavy-handed and stupid - as art.

If I'm reading something and a word pops up, or I just catch it, I try to mark it off and then, later, write it down on a piece of paper and add it to my list.

You can never really predict how people are going to react, what they're going to think about, whether they care.

I think words speak to us even though they may be written on a wall. So we hear them in our mind. We say it to ourselves. But they are also visual things. You draw them. They are designed. They are colored. They have a certain size. I put them in a certain place. So they are objects that have to be - artistic decisions have to be made in terms of the color and the size and the line and whatever.