I was a guest at CalArts. John Baldessari invited me out a few times. I've been there. I've been in Pasadena, taught out at Boulder, University of Colorado. And I've taught in Europe. I've lectured and taught. I've taught at the École des Beaux-Arts in Nigne [sp]. I was there for a couple of weeks, I was there. I've taught all over - in Switzerland, Germany.

ne thing you have to develop as an artist is a confidence in what you're doing and that you're right about it.

The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.

I shoot a lot of video, first of all, whatever I think is interesting, just my travels; hard to say why. If something looks good, I take a picture or try to shoot it.

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

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.

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.