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

A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.

I have to be reminded, “’It’s your son’s birthday party. Bring a camera.’ And then, when I’m there, ‘Take a picture,’ because it doesn’t occur to me to use it as this memorializing thing.

As not a native, I have the advantage of not seeing scenes habitually. I can see things fresh.

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.

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.

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