In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

When someone tells you it’s a grain of sand, there’s a moment where your reality falls apart and you have to reconstruct it. You have to step back and ask what the image is and what it means.

My first reaction to finding Robert Smithson's Spiral Jetty in a book was, Wow, what a great photograph! I could not believe that someone had gone to so much trouble just to end up with a picture.

Whenever I am tired of making photographs of drawings, I make drawings of photographs.

I think there's a gradient that goes from science to art and magic is the middle ground. I think that we're all trying to understand and define the world around us but often it's experimental.

I don't want to fool people. If I wanted to do that, I would be working with virtual reality. I want to operate on the other level, the other end of the illusion spectrum. I want to create the worst possible illusions so it doesn't really fool people, but instead give people a measure of their own belief. It makes them aware of how much they need to be fooled in order to understand the world around them.

Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.