I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.

I don't believe in art. I believe in artists.

I am interested in ideas, not merely in visual products.

Living is more a question of what one spends than what one makes.

I have forced myself to contradict myself in order to avoid conforming to my own taste.

I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.

The individual, man as a man, man as a brain, if you like, interests me more than what he makes, because I've noticed that most artists only repeat themselves.

Chess can be described as the movement of pieces eating one another.

'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.

A game of chess is a visual and plastic thing, and if it isn't geometric in the static sense of the word, it is mechanical, since it moves. It's a drawing; it's a mechanical reality.

A painting that doesn't shock isn't worth painting.

Alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding.

All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.

Art doesn't interest me. Only artists interest me.

Art is all a matter of personality.

Can works be made which are not 'of art'?

Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude.

Distortion came first from the fauves, who, in turn, were under the strong influence of primitive art.

Everything important that I have done can be put into a little suitcase.

For me, the 'Three Stoppages' was a first gesture liberating me from the past.

From a purely ethnological point of view, I was not a period-born Dada.

Gravity is not controlled physically in us by one of the 5 ordinary senses. We always reduce a gravity experience to an autocognizance, real or imagined, registered inside us in the region of the stomach.

Humor and laughter - not necessarily derogatory derision - are my pet tools. This may come from my general philosophy of never taking the world too seriously - for fear of dying of boredom.

I am against the word 'anti' because it's a little bit like 'atheist,' as compared to 'believer.' And an atheist is just as much of a religious man as the believer is.

I became a librarian at the Sainte-Genevieve Library in Paris. I made this gesture to rid myself of a certain milieu, a certain attitude, to have a clean conscience, but also to make a living. I was twenty-five. I had been told that one must make a living, and I believed it.

I didn't abandon everything at a moment's notice - on the contrary. I returned to France from America, leaving the 'Large Glass' unfinished.

I happen to have been born a Cartesian. The French education is based on a sequence of strict logic. You carry it with you.

I haven't been in the Louvre for twenty years. It doesn't interest me because I have these doubts about the value of the judgments which decided that all these pictures should be presented to the Louvre instead of others which weren't even considered.

I like living, breathing better than working... Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It's a kind of constant euphoria.

I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.

I really had no program or any established plan. I didn't even ask myself if I should sell my paintings or not.

I refused to accept anything, doubted everything. So, doubting everything, I had to find something that had not existed before, something I had not thought of before. Any idea that came to me, the thing would be to turn it around and try to see it with another set of senses.

I shy away from the word 'creation.' In the ordinary, social meaning of the word - well, it's very nice, but fundamentally, I don't believe in the creative function of the artist. He's a man like any other.

I was highly attracted to chess for forty or forty-five years; then, little by little, my enthusiasm lessened.

I was never interested in looking at myself in an aesthetic mirror. My intention was always to get away from myself, though I knew perfectly well that I was using myself. Call it a little game between 'I' and 'me.'

I would have to think about it for two or three months before I decided to do something which would have meaning. And it would have to be more than just an impression or pleasure. I would need an objective, a meaning. That is the only thing that could help me.

If only America would realize that the art of Europe is finished - dead - and that America is the country of the art of the future, instead of trying to base everything she does on European traditions!

If your choice enters into it, then taste is involved - bad taste, good taste, uninteresting taste. Taste is the enemy of art, A-R-T.

In France, in Europe, the young artists of any generation always act as grandsons of some great man - Poussin, for example, or Victor Hugo. They can't help it. Even if they don't believe in that, it gets in their system. And so when they come to produce something of their own, the tradition is nearly indestructible.

In chess, there are some extremely beautiful things in the domain of movement, but not in the visual domain. It's the imagining of the movement or of the gesture that makes the beauty in this case.

In the 'Nude Descending a Staircase,' I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn't descending an equally real staircase.

In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.

In the midst of each epoch, I fully realize that a new epoch will dawn.

It is curious to note how fragile the memory is, even for the important times in one's life. This is, moreover, what explains the fortunate fantasy of history.

It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.

Man can never expect to start from scratch; he must start from ready-made things, like even his own mother and father.

Marcel, no more painting; go get a job.

My Ready-Mades have nothing to do with the 'objet trouve' because the so-called 'found object' is completely directed by personal taste. Personal taste decides that this is a beautiful object and is unique.

My position is the lack of a position, but, of course, you can't even talk about it; the minute you talk, you spoil the whole game.