You know, there are some people who just don't - that cannot get comfortable behind the wheel of a car and always sort of think they're going to kill somebody.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

I have a lot of ideas for art. And it is really - I don't really have time to do them all.

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

I'm getting more and more into Chinese art and Japanese, some of those scroll paintings are amazing. You follow the change of the seasons. It's really something. These guys were great masters and of course the use of space.

You can't just suddenly change gears and reverse yourself or go to the left or the right because there is no left or right. There's always a certain direction that you're moving in.

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.