"I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.' I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned."

“And I learned very early how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble.”

“Amateurism is an emptiness and I accept it because it has no preconceived ideas or rules to be applied. This is for me a most welcome situation and I like to keep my students amateurs and dilettantes.”

“I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything. I was in the workshop and watched him. So as a child so-called art was not my view. That was, in my opinion, my father's job. But I liked to watch him; he comes, as my mother also, from a very craftsman's background. My father's parents were carpenters. They were also builders partly. They were painters. And several of them were very, active in the theater and all such nonsense, you know. On my mother's side there was much more heavy craft. They were blacksmiths. They made a specialty horse shoes and nails for them.. .So, as a child, my main fun was to watch others working. I loved to walk to the neighboring carpenter's place and up to the neighboring shoemaker in my home town.”

“I think it's true, as many say, I have dealt for many years with the problems that w:Op art so-called, is dealing with. For many years I have studied the logic and magic of color. And so I know what's involved when it comes to the interaction of colors, more than many who refuse to study it. But I found a way to study it, I think, that's all. And besides I refuse to be the father of a new bandwagon.”

“Josef and Anni Albers Foundation”

“I say all the time, if I sell that to you, you pay me for 3 colors. And I sell you 4, I betray you. Not to cheat you, but to pet you. You see I betray you in a positive way. I make you see more than there is. And that's in all my art that way. Absolutely something else. And that's what my book is about. You never see what you see. I lead you to see something else. And therefore I direct you. That's help.”