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 mean, part of the justification for art is art history, the fact that you're part of this tradition. You can't really operate outside of it. So looking for what this work is really about, if I look at Velázquez, if I look at Las Meninas or The Tapestry Weavers [1657] or something and really study it and try to figure out what that painting is really about, then I find relationships between what I'm trying to do and what he was doing.

I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.

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.

I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.

I had always taken photos - always, always taken photos, made movies.

I don't have a dream project. I don't really think in those terms, to tell you the truth.