Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.

Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes. I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and the colors around it and what it will really look like. It's only a guess at the beginning, and then I try to refine it.

Art doesn't transform. It just plain forms.

My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.

We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.

Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it.

A number of artists have done things with Mickey Mouse - including Claes Oldenburg and Andy Warhol. He's such an American symbol, and such an anti-art symbol.