"They are more complex to begin with, but their organization, the way they end up being put together, isn't that different. You can't shake your own sensibility. No matter what the concept is; the artist's eye decides when it's right.. ..which is a notion of sensibility."

“I wanted something that was direct – right to you eye .. ..something you didn't have to look around – you got the whole thing right away.”

“I don't know how I got into sculpture. I liked its physicality, that's the only reason. I didn't have a program.”

“Time is what you have left.. ..you just march with it and use it the best you can.”

“You are always related to something. I'm related to the more geometric, or simpler, painting, but the motivation doesn't have anything to do with that kind of European geometric painting. I think the obvious comparison with my work would be Vasarely, and I can't think of anything I like less.. ..the 'Groupe de recherché d'Art visuel' actually painted all the patterns before I did – all the basic designs that are in my painting – I didn't even know about it.. ..it still doesn't have anything to do with my painting. I find all that European geometric painting – sort of post Ma Bill school – a kind of curiosity, very dreary.”

“One could stand in front of any Abstract-Expressionist work for a long time, and walk back and forth, and inspect the depths of the pigment and the inflection and all the painterly brushwork for hours. But I wouldn't particularly want to do that and also I wouldn't ask anyone to do that in front of my paintings. To go further, I would like to prohibit them from doing that in front of my painting. That's why I make the paintings the way they are, more or less.”

“The thing that struck me most was the way he stuck to the motif .. ..the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition.”