There's a moment when you say, "Okay, I'm not going to become a dancer. I'm not going to become a painter." So in a sense, I ended up writing about those big conflicts that I felt.

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 grew up as a dancer. I did tap, classical ballet, all of that. I did Indian dancing, or Bharata Natyam, classic temple dancing from Madras, originally. My mother always had the great idea that I should learn it.

Performance art is really about the sociology of the artist, where ideas come from, and the confluence of those ideas.

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.

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.