My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.

I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn't what I was interested in. All of it had an impact - as did happenings - because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn't the direction I really wanted to go.

I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.

Color is crucial in painting, but it is very hard to talk about.

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.

Pop Art is industrial painting. I think the meaning of my work is that it is industrial, it's what all the world will soon become. Europe will be the same way, soon, it won't be American; it will be universal.

Outside is the world; it's there. Pop Art looks out into the world.