"ARTS is a somewhat conservative magazine but it is not uniformly, simply or blindly conservative, and the several conservative writers vary. And I am certainly not a conservative and neither is Miss Harrison. I decidedly disagree with the basic positions of Mr. Kramer, Miss Raynor and Mr. Tillim, though not with some of their evaluations, both of conservative and nonconservative artists. I think Ben Johnson's paintings, for example, are relatively uninteresting and powerless and that the work of some of the dop artists is full of true emotion.uninteresting and powerless and that the work of some of the dop artists is full of true emotion. The conservatism of Mr. Kramer and Mr. Mellow as successive editors lies only in the publication of more articles on conservative artists than on unconservative ones. Neither editors ever suggested to me that the magazine should have a uniform position or attempt to control my reviews, which are often contrary to Mr. Kramer’s opinions."

“The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair. These are proportion, which is visible reasonableness. The art in art is partly the assertion of someone's interest regardless of other considerations. A work of art exists as itself; a chair exists as a chair itself. And the idea of a chair isn't a chair.”

“Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible.”

“Everything sculpture has, my work doesn’t.”

“Since I leapt into the world an empiricist, ideality was not a quality I wanted.”

“I'm not arguing, incidentally, for a confusion of art and architecture, a fashion now, but for a coherent relationship. Therefore, within the capacity of one person or of a small group, the relationship of all visible things should be considered.”

“Eighteen years ago someone asked me to design a coffee table. I thought that a work of mine which was essentially a rectangular volume with the upper surface recessed could be altered. This debased the work and produced a bad table which I later threw away. The configuration and the scale of art cannot be transposed into furniture and architecture. The intent of art is different from that of the latter, which must be functional. If a chair or a building is not functional, if it appears to be only art, it is ridiculous... A work of art exists as itself; a chair exists as a chair itself.”