Questions about form seem as hopelessly inadequate as questions about content.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.

Artists themselves are not confined, but their output is.

Art's development should be dialectical and not metaphysical.

Nature is never finished.

Mistakes and dead-ends often mean more to these artists than any proven problem.

Language operates between literal and metaphorical signification.

An emotion is suggested and demolished in one glance by certain words.

When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.

Questions about form seem as hopelessly inadequate as questions about content.

A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world.

History is a facsimile of events held together by finally biographical information.

Artists are expected to fit into fraudulent categories.

Parks are idealizations of nature, but nature in fact is not a condition of the ideal.

Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .

A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence.

Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.

Visiting a museum is a matter of going from void to void.

Language thus becomes monumental because of the mutations of advertising.

The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.

History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody's own vacancy.

The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality.

Nature does not proceed in a straight line, it is rather a sprawling development.

Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.

Words for mental processes are all derived from physical things.

Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future.

Abstraction is everybody's zero but nobody's nought.

Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.

Painting, sculpture and architecture are finished, but the art habit continues.

Language should find itself in the physical world, and not end up locked in an idea in somebody's head.

Language should be an ever developing procedure and not an isolated occurrence.

Banal words function as a feeble phenomena that fall into their own mental bogs of meaning.

From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.

Museums are tombs, and it looks like everything is turning into a museum.

The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.

Lets face it the human eye is clumsy sloppy and unintelligible when compared to the cameras eye.

People disparage knowing and the intellectual life, and urge doing. I am content with knowing, if only I could know.

Thoughts without content are empty, intuitions without concepts are blind.

Content makes poor men rich; discontent makes rich men poor.

The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.

They've also, the government's decided now, what sexual content is.

Many hard comments have been made on my efforts in India from the side of the Congress party, yet I feel content in the deep conviction that the offer I traveled 22,000 miles to discuss with Indian leaders was a real contribution to a solution of our differences.

I endeavor to be wise when I cannot be merry, easy when I cannot be glad, content with what cannot be mended and patient when there be no redress.

There is no reality of consciousness independent of the effects of various vehicles of content on subsequent action (and hence, of course, on memory).

There's probably a way to use that great content and to live under the radar now and then in order to reach a new audience. That's the thinking I'm talking about.

Everything has its wonders, even darkness and silence, and I learn, whatever state I may be in, therein to be content.

While you are experimenting, do not remain content with the surface of things.

What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition.