"Boccioni and I were swiftly persuaded that with this show in Paris we were staking our all; for a flop would have meant kissing our fine aspirations goodbye. This is why we decided to go to Paris, to see what the art situation there was like."

“The Cubists, to be objective, restrict themselves to considering things by turning around them, to produce their geometric writing. So they remain at a stage of intelligence which sees everything and feels nothing, which brings everything to a standstill in order to describe everything. We Futurists are trying, on the contrary, with the power of intuition, to place ourselves at the very center of things, in such a way that our ego forms with their own uniqueness a single complex. We thus give plastic planes a plastic expansion in space, obtaining this feeling of something in perpetual motion which is peculiar to everything living.”

“This bubbling and whirling of forms and lights, composed of sounds, noises, and smells has been partly achieved by me in my 'Anarchical funeral' .. ..by Umberto Boccioni in his 'States of Minds' and 'Forces of a Street' , by Russolo in 'Rebellion' and Severini in 'Pan-Pan , paintings which were violently discussed at our first Paris exhibition in 1912.”

“Constructions of a-rhythmical forms, the clash between concrete and abstract forms.. ..The acute angle is passionate and dynamic, expressing will and a penetrating force.”

“Boccioni, Russolo and I all met in the Porta Vittoria café , close to where we all lived, and we enthusiastically outlined a draft of our appeal . The final version was somewhat laborious; we worked on it all day, all three of us and finished it that evening with Marinetti and the help of Decio Cinti, the group's secretary.”

“Stumbling into the midst of anarchists, barely 18 years old, I too started to dream of 'inevitable changes, inhuman society, free love', etc.”

“Reds, rrrrreds, the rrrrreddest rrrrreds that shouuuuuuut.”