I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.

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.

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.

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

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

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

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.