- Mary Miss: When I was young I spent most of my time in the West, seeing the kind of space out there. The sense of distance. We'd stop at old forts and walk through them or old mining areas in Colorado, Indian ruins, Chaco Canych or Mesa Verde or places like that. And those were always the most outstanding experiences to me. Actually walking through these different kinds of structures
- Scott Burton: I'm from an avant-garde, snobbish, elitist culture. And sometimes when I'm depressed, I am afraid that my role is just to be an adversary within that culture. Not the kind of artist who can really move beyond it. There are a number of artists who I identify with who try, who try to expand the context. It may not be given to us in our generation to do it. It may be the next generation, the artists of the last generation of American artists of the century.
- Elizabeth Murray: Each one feels like it has to be, something new has to happen for me inside the experience of making it or it can't be done until that happens. And that feels more like a psychological need that I have from my work. It doesn't feel like a big deal either, it just- I had to experience something different inside making something. I suspect that most people who do things, writers or poets or musicians, must have similar desires.
- Joseph Kosuth: I felt that in our century the painting had always been in a certain sense... the belief system of art. And that somehow you felt that the painting on the wall and the paint on the canvas were somehow really different. The paint on the canvas was really magical, it was a window to another world, right. And that, and so in that sense really painting was the language of art.