Most of the criticism of my work was pretty good, but occasionally it would not be. And I just sort of felt that they absolutely didn't get what I was doing. It was their limitations on what they thought art should be or what they thought my work should be in relation to earlier work or whatever.

And when you are operating within your style, which is your world, which you operate in, then it also would make sense to you. Now, whether it makes sense to anybody outside is besides the point really. You just do it and then you find that other people kind of begin to relate to it and allow themselves to get into your way of thinking about things.

When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.

And style, by the way, is a very important thing. It is like your signature, your handwriting or it is something that you develop that is your way of presenting yourself and also your way of looking at what art - of how to make art.

I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.

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.

If you want to know about what's good in art, you should talk to an artist.