People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.

I do make some drawings for wall pieces. I do work out some ideas for large-scale wall pieces where I have to organize words or get proportions right. I do keep them in my files. Not an exhibit or a show; just as part of my records, my archives.

Agnes Martin is a big influence in my work actually, when I first saw her, these fine grids.

And yes, there are things I want to keep, that I like around me - especially when there's very little left. I just want to keep those little bits of reminders of my past. There are certain drawings from the '60s; certain little paintings from the '60s that I keep.

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.

Any artwork is part of something larger, grander and, you know, the situation that it's in is very important.

Normally my head is always filled with art ideas and things that I have to do, deadlines that I have to meet.