Even though you're reading something, it's as though that person who wrote it is speaking to you. It's a form of conversation, really.

I know where the mistakes are. Nothing is perfect and I understand that.

The only problems I sometimes have is if I ask for a piece for a group show, if I ask for a piece - I would like to put it into a show, sometimes the collectors get possessive about it and don't want to let something happen. Say you get full credit, you know. You give them your name, the catalog and it always enhances the value of the piece, you know, the more shows it is in, blah, blah, blah.

I went to Our Lady of Mercy, parochial school and I started Fordham Prep, but that only lasted about a year and then I - to me, it was like going to some kind of concentration camp. I was not very happy. And I only went there because that's where my brother went, really.

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

I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.

I consider drawings finished works of art, first of all. However, the ideas can be something that can be developed into something larger. I don't make so many drawings anymore since I'm working with language. I used to make more when I worked with sculptural things, especially the wire pieces.