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.

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

The space between things is important to me. The projections, that darkness between the words or the images is very important.

And after a while, you just pare things down more and more and more, until you get to certain basic things which just - basic ideas which just seem to work for you over and over again.

I just try things and whether people like it or if I find it successful or not, I just do it.

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.

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.