"Collage with Squares Arranged According to the Laws of Chance in the MoMA Online Collection"

“A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.”

“These paintings, these sculptures – these objects – should remain anonymous, in the great workshop of nature, like the clouds, the mountains, the seas, the animals, and man himself. Yes! Man should go back to nature! Artists should work together like the artists of the Middle Ages.”

“Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.”

“I allow myself to be guided by the work which is in the process of being born, I have confidence in it . I do not think about it. The forms arrive pleasant, or strange, hostile, inexplicable, mute, or drowsy. They are born from themselves. It seems to me as if all I do is move my hands.”

“A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.. .. it is an incomplete art which privileges the intellect to the detriment of the senses.. . fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.”

“To be full of joy when looking at an oeuvre is not a little thing.”