Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

The other great development has been in photography, but that too was influenced by Conceptual art.

A blind man can make art if what is in his mind can be passed to another mind in some tangible form.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating.

I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.

In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.

Minimal art went nowhere.

Artists teach critics what to think. Critics repeat what the artists teach them.

The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.

Buying books was a way anyone could acquire a work of art for very little.

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

Every generation renews itself in its own way; there's always a reaction against whatever is standard.

Minimalism wasn't a real idea - it ended before it started.

The narrative of serial art works more like music than like literature.

You shouldn't be a prisoner of your own ideas.

During the '70s I was interested in words and meaning as a way of making art.

I became interested in making books, starting about 1965, when I did the Serial Project #1, deciding that I needed a small book to show how the work could be understood and how the system worked.

Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.

I was not interested in irony; I wanted to emphasize the primacy of the idea in making art.

Artists of many diverse types began using simple forms to their own ends.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

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

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.