"It was not the inexperienced art public that became American Scenists. It was the artists themselves, a highly sophisticated group, thoroughly familiar with the art work and the art traditions of the world, who had flocked to Paris to participate in the great cultural center, who were very conscious of the Impressionists and Post-Impressionists revolutions, who fell for this propaganda . It is upon them that responsibility falls. Their support of this reactionary philistinism is an inexcusable betrayal.. .It is time for the artists to wake up and re-examine their aesthetic foundations; to rid themselves of the millstone that has made art in America an expensive picture postcard-factory.. .It is time that artists refused isolationist money, repudiated the art dealers, the favor of the museum directors. It is time artists forgot about success.."

“..the terror to expect. Hiroshima showed it to us. The terror has indeed become as real as life.”

“We are freeing ourselves of the impediments of memory, association, nostalgia, legend, myth, or what have you, that have been the devices of western European painting. Instead of making 'cathedrals' out of Christ, man, or 'life', we are making it out of ourselves, out of our own feelings..”

“The present painter can be said to work with chaos not only in the sense that he is handling the chaos of the blank picture plane, but also in that he is handling the chaos of form. In trying to go beyond the visible and the known world he is working with forms that are unknown even to him. He is therefore engaged in a true act of discovery in the creation of new forms and symbols that will have the living quality of creation.”

“....from then on I had to give up any relation to nature, as seen . That doesn't mean that I think my things are mathematical or removed from life. By 'nature' I mean something very specific. I think that some abstractions - for example Kandinsky's - are really nature paintings. The triangles and the spheres or circles could be bottles. They could be trees, or buildings. I think that in 'Euclydean Abyss' and 'Onement' I removed myself from nature. But I did not remove myself from life.”

“We feel that our pictures demonstrate our aesthetic beliefs, some of which we, therefore, list:”

“Does a man want to be an artist? Is it like he wants to be a priest, or a lawyer? Is the artist that kind of profession? Or, as I once actually wrote, I think every man is an artist. An artist is a matter of my birthright... what I'd like to be is a man in the world. And I paint in order to do a painting, not to... make myself into a so-called artist... I'm impelled to do something, to say something.”