As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

I had met American artists and just couldn't believe their energy. London was always such a struggle to get anything going.

As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

I was often the only white girl in the Indian dance class. That felt funny, but doing Indian dance was great.

My art history papers were really politics. They were about the manifestation of culture through the eye of political events. So there was always that refusal to settle in one place, or one discipline or medium.

From day one, my idea was always to use the gallery as this animated place to discover culture in a much bigger way.

I started as a tap dancer in Durban, which is on the coast. That was an important part of growing up, turning on the radio in the morning and hearing Zulu singing or the news in Zulu.