Both art and science are bent on the understanding of the forces that shape existence, and both call for a dedication to what is. Neither of them can tolerate capricious subjectivity because both are subject to their criteria of truth. Both require precision, order, and discipline because no comprehensible statement can be made without these. Both accept the sensory world as what the Middle Ages called signatura regrum, the signature of things, but in quite different ways.

Nothing is more humbling than to look with a strong magnifying glass at an insect so tiny that the naked eye sees only the barest speck and to discover that nevertheless it is sculpted and articulated and striped with the same care and imagination.

The least touchable object in the world is the eye.

Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.

As one gets older, it happens that in the morning one fails to remember the airplane trip to be taken in a few hours or the lecture scheduled for the afternoon.

Seeing consists of the grasping of structural features rather than the indiscriminate recording of detail.

The foreign accent was a promise, and indeed, all over the country, European imports added spice to the sciences, the arts, and other areas. What one had to give was not considered inferior to what one received.