"I am a great enemy of critical writing as all I see in these interpretations and comparisons with Kafka and others is just an opportunity to open up the floodgates of words which, overall, amounts to Carrouges or at times a translation of Carrouges – very free to makes his ideas look good. Obviously any work of art or literature, in the public domain, is automatically the subject of the victim of such transformations – and this is not just confined to the case of Carrouges. Every fifty years, El Greco is revised and adapted to the taste of the day, either overrated or underrated. The same goes for all surviving works of art. And this leads me to say that a work of art is made entirely by those who look at it or read it and make it survive by their acclaim or even their condemnation."

“the beginning of a cult devoted to the material on the canvas – the actual pigment..”

“Well, this man wanted to know why I stopped painting .. ..and he had said because of dealers and money and various reasons. Largely moralistic reasons.. ..But you know; it wasn’t like that. It’s like you break a leg; you don't mean to do it.”

“Another important point which you so very accurately sensed concerns the idea that the glass in actual fact is not meant to be looked at . It should be accompanied by a 'literary' text, as amorphous as possible, which never took shape. And the two elements, glass for the eyes, text for the ears and understanding, should complement each other and above all prevent one or the other from taking on an aesthetic-plastic or literary form. All in all, I am hugely indebted to you for having stripped bare my Bride stripped bare .”

“Painting is over and done with. Who could do anything better than this propeller? Look, could you do that?”

“I wanted to get away from the physical act of painting.. .For me the title , with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', was very important.. .I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.”

“..we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.. ..the role of the spectator is to determine the weight of the work on the aesthetic scale.”