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'm not a person - and my wife also - we don't really go to the beach or anything like that. We go to cities.

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

I may have a lot of political opinions but it doesn't necessarily come into my work. I keep the two worlds separate.

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

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.

A word refers to something in the real world and so, in a way, does a photo. It's not the thing itself, but it's a kind of suggestion of where you might look for that thing.