I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.

Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.

I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way.

Wushu is a move in Chinese, a physical move. An attack. Wushu is like an art.

The narrative of serial art works more like music than like literature.

Minimal art went nowhere.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

I was not interested in irony; I wanted to emphasize the primacy of the idea in making art.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

Buying books was a way anyone could acquire a work of art for very little.

Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.

The other great development has been in photography, but that too was influenced by Conceptual art.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.