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

Words are objects of a color and a size and a form and a shape.

The space between things is important to me. The projections, that darkness between the words or the images is very important.

I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.

I was also very interested in music. I used to hang out in jazz joints, you know, the Five Spot and so forth when I was, you know, a senior, really, when I was a little bit older. And I thought, well, maybe I could, you know, work with music. I can't play at all.

But artistically, my art I kept very separate from my political beliefs, deliberately and very, very rarely would I allow that kind of thing into it.

And when you see artists like Donald Judd and so forth being referred to as conceptual, what the hell does that mean? It's a totally meaningless term.