"Well, I looked at Picasso until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty."

“Its decadence, satiety, and languor interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.”

“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors.. .Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

“In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.”

“The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us.”

“Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.”

“an extended text on Baziotes and his art, in pdf of 'The Baziotes Memorial Exhibition' and its accompanying catalogue, by w:Lawrence Alloway; Solomon R. Guggenheim Museum 1965”