"That thing of curiosity has really come to intrigue and overwhelm me. I think that it's true for a lot of people that when you think about how the world operates and what it rewards - I mean, where the rewards are, where the attention is, where the acceptance is, being loved, which everyone [needs], and the idea of reinforcement to the degree which all of our lives are reinforced by previous concepts and ideas and that - there is a real question as to how we ever seriously ask questions which are contradictory or which are eccentric or which are outside of the existing milieu or operative form. And it seems the only real eccentric force in that area is curiosity. And it's amazing how much curiosity can be a bond between people."
"When the artist assumes to break the existing orthodoxies of "art" he loses the useful support of the cultural agreements for art as a contextual entity, which it is. But this "art" is at the same time an inquiry into the elusive complexity that is the real nature of things. Here at times the artist's questions will lead him or her to extend their acts beyond what is already known and the agreements held for their practice."
"When the artist presumes to extend the methods, place or meanings for art to include what previously did not exist he does so simply as a means of attending [to] the quality of his questions. Those questions [are] raised by his own activities but [are also] inherent to his time and raised in line with the historical development of the discipline."
"As aspects of my work became increasingly obscure, I was confronted with the social accusation of elitism. My answer to this demand was to become openly available to any inquiry. I will go anywhere, anytime and have for the past four years to answer those interested in questioning my ideas and activities. I make no distinctions between large or small or make economics a consideration to spend time in conversation, on a corner, seminar, or formal lecture."
[Statements on teaching]
"One must develop their confidence, prove to them that in their own performance there isn't anything that they can't eventually accomplish technically with application before you can convince them that it doesn't deserve the kind of focus they have been led to believe by a performance-oriented culture. Simultaneously you want to develop their historical awareness. That they begin in a special time and place, in that historical context, "Art". That they begin already a part of "Art" history. To realize that 90% of the things you take for granted are cultural solutions, facts, but not necessarily truths. To give them a real historical awareness not in names and dates, but in terms of that progression of ideas. Leading to why certain questions are now being asked by their contemporaries. The most critical part is to begin developing their ability to assign their own tasks and make their own criticism in direct relation to their own needs and not in light of some abstract criteria. That when they are carrying out a problem they are not making art, they are simply working on a problem in terms of their own growth. If you can learn how to make your own assignments instead of relying on someone else then you have learned what you really came to school for, to learn how to learn, and everything else - history, technique , and practice - simply contributes to that continuing process."