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.

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 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.

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

My father was a doctor. He was just a great guy, a gentle humanist, and an old-fashioned GP. He'd get up at three in the morning to see patients in different areas if they needed him.

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.

It was very interesting growing up in South Africa then. It was extraordinary. It was multiculturalism before it became an issue.