The memory of what is not may be better than the amnesia of what is.

Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like photographing a photograph. The sun became a monstrous light-bulb that projected a detached series of stills through my Instamatic into my eye.

Art's development should be dialectical and not metaphysical.

As long as cameras are around no artist will be free of bewilderment.

Let's face it, the human eye is clumsy, sloppy, and unintelligible when compared to the camera's eye.

The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.

Artists themselves are not confined, but their output is.