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

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

Only in the 20th century, artists started taking the study of perception in a more humane way. They were thinking about the eye as being an instrument, the whole body as being a visual instrument. That sort of gave way a little bit with Cartesian­ - the "Cogito ergo sum" argument. It's not, "I think therefore I exist." It's, "I feel therefore I think therefore I exist."

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

I think that the development of any culture has something to do with the way people deal with the concept of illusion. The fact that the sound of my voice and the way I modulate it creates pictures in your head... in order for us to accumulate knowledge, we have to create symbolic exchanges that let ourselves be fooled temporarily by something that's not there - by a substitute for reality. When you talk about representation, you're talking about language.

The great challenge is how to make smart, intelligent art that can speak to everybody.

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.