If somebody gives me a chance to do something, I am going to use that space, that time, that light, that whatever it is and try and work with it.

I didn't like anti-Vietnam War art. I didn't like feminist art. I thought it was heavy-handed and stupid - as art.

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 like challenge. I like to be put into a situation which I haven't done before. Something new presents itself and I see if I can somehow finagle it into making a work of art out of it.

I work with deadlines. It is terrible to be an artist where you are just producing work and nobody gives a damn. Nobody wants to show it.

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.

How does any idea come to your mind? I don't know.