reaking up the space and using the space, using the length of the space, the height of it, whatever, the light, all of those things. It's something that you have to kind of slowly recognize in your work and develop over years of making work.

I do make some drawings for wall pieces. I do work out some ideas for large-scale wall pieces where I have to organize words or get proportions right. I do keep them in my files. Not an exhibit or a show; just as part of my records, my archives.

I never stop thinking about what I have to do. Let's put it that way. The only thing that takes me out of that is probably a film. I watch a lot of movies.

I really kind of liked the fluidity and not really being tied down. I saw the kind of people that were tenured and what happened to them there and I thought it was kind of death, really.

I'm not a person - and my wife also - we don't really go to the beach or anything like that. We go to cities.

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.

There's a kind of poetic aspect to inert gas. And remember, first of all, they were completely unknown a hundred years earlier. We just didn't know about them. And then when they were discovered in the atmosphere, the idea that this is a material that would breathe in and exhale and becomes part of us for a while made it even more intriguing. The names, the Greek names, are interesting, too - if you translate neon, xenon and so forth are kind of interesting.