I was always - I was a movie nut. I lived in the movies, really.

I loved music. Music was a big thing and so I started collecting records. I had a large collection of jazz records and that was something else I used to listen to. At night, there was a - what the heck was his name? There was a famous - Jazzbo Collins, I used to listen to at night, and some other guys.

I have never had a shortage of ideas for shows. I always just do them and the gallerists don't - they stopped long ago trying to tell me what I should show in their gallery. They just don't even do it. I show whatever I want to show. They are very happy and as far as I know, they have always been very pleased with whatever I have shown, even if it is nothing to sell.

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'm used to being the background. I'm used to having work that only lasts for a little while. I'm used to being - working in the real world, where real things are.

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 work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.