The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
Robert BarryI was also a good writer, by the way. My, you know, my English teacher and writing teacher loved my writing. You know, I wrote short stories and things like that. And they liked them very much.
Robert BarryI really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.
Robert BarryI took art courses, only in the sense that I was able to - I took art classes, which were fun, which I liked, but it was a - just a kind of a general education that I got, a regular academic - academic diploma, but I kind of had the feeling that art was something that I really liked the most but I wasn't really sure that that was it.
Robert Barry