I've always said my biggest influence is my, just, the last work I did, the last piece I made.

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 wanted my style to be very recognizable.

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

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.

I was an adjunct. I never got tenure, never had it. I was a professor, though. But I never got tenure. I never really wanted tenure, to tell you the truth. Really wasn't - the guys who got - the tenured people were some of, like, the least interesting. And they were people I didn't really like very much anyway.

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.