"The true artist always refuses to conform to any standards others than his own. That’s why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform."

“See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece.”

“We are going to have perhaps a thousand years of non-representational painting.”

“I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.. ..I chose my own label and called my paintings 'Pictographs'..”

“If we depart form tradition, it is out of knowledge, not innocence.”

“..more significant, perhaps, was the fact that during the war many of the Surrealists came to America and we were able to see them as just other human beings like ourselves and not as mythical characters who had superhuman capacities and talents. I think that there was a feeling after meeting them personally that, well, if these men can have these great achievements and talents, there is hope for us”

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting... There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”