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

I think pure light has something to do with actually seeing everything at once. It's kind of a nirvana of sorts.

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.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

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.

I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.

It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.