"I admit I know little of Orient art. But that is because I cannot find in it what I am looking for, or what I am talking about. To me the Oriental idea of beauty is that 'it isn’t there'. It is in a state of nor being there. It is absent. That is why it is so good. It is the same thing I don't like in Suprematism, Purism and non-objectivity... I do like the idea that they - the 'pots and pans' , I mean – are always in relation to man. They have no soul of their own, like they seem to have in the Orient.."

“No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism – pure plasticity – it’s kind of silly, I think. I mean, not for him, but I think one could spend one's life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now.”

“And then there is that one-man movement, Marcel Duchamp — for me a truly modern movement because it implies that each artist can do what he thinks he ought to — a movement for each person and open for everybody.”

“Well, now I can make some highways, maybe. Well, now I can set out to do it and maybe it will be a painting of something else. Because if you know the measure of something, for yourself.. .There's is no absolute measure that you can identify yourself. You can find the size of something . You say, now ,that's just this length, and immediately with that length you can paint, well, a cat maybe. If you understand one thing, you can use it for something else. Well, that is the way I work.. .I get hold of a certain thing of area or measure or size and then I can use it. I mean, I have an attitude. I have to have an attitude.”

“The sentiment of the Futurists was simpler. No space. Everything ought to keep going! That's probably the reason they went themselves. Either a man was a machine or else a sacrifice to make machines with..”

“I feel sometimes an American artist must feel, like a baseball player or something - a member of a team writing American history..”

“Kandinsky understood 'form' as a form, like an object in the real world; and a object, he said, was a narrative – and so, of course, he disapproved of it. He wanted ‘his music without words’. He wanted to be 'simple as a child'. He intended, with his 'inner-self' to rid himself of 'philosophical barricades' . But in turn his own writing has become a philosophical barricade, even it is a barricade full of holes. It offers a kind of Middle European idea of Buddhism or, anyhow, something too theosophical for me.”