I had a creative hot streak in the 1940s and since then I’ve been pot boiling.

I know that people think of my work from the '70s as American, but I've been going to other places for a long time.

I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.

If you've met one person with autism, you've met one person with autism.

I don't have to have a single point of emphasis in the picture. It can be complex, because it's so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.

I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness. And it's that awareness of really looking at the everyday world with clear and focused attention that I'm interested in.

If I only try to solve the problems I set for myself, then I'm limited by what I can conceive of. I can't solve a problem I can't conceive. But if someone else gives me a visual problem, it can be out of the whole realm of my normal practice.