I really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.

You can't make somebody care about what you're doing. Either they get it, either there's that connection - or they don't.

After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.

I was never that big a rock-and-roll, rock guy. I really preferred jazz, you know, that kind of thing.

I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.

The Vogels were quite strict in what they acquired. They never acquired a projection. They never acquired a sound piece. They were never big on photos that much, unless it was photos documenting something. They had some limitations into what they bought.

You can't just suddenly change gears and reverse yourself or go to the left or the right because there is no left or right. There's always a certain direction that you're moving in.