I think of a monument as being symbolic and for the people and therefore rhetorical, not honest, not personal.

'Clothespin' was the first city monument on a large scale that could compete with the architecture around it.

I think that Hiphop should be a pulpit for the people.

My struggle has been to return painting to the tangible object, which is like returning the personality to touching and feeling the world around it, to offset the tendency to vagueness and abstraction. To remind people of practical activity, to suggest the sense and not to escape from the senses.

I am for the art of underwear and the art of taxicabs. I am for the art of ice cream cones dropped on concrete.

It's got the context of a very good architect [Renzo Piano, who designed the expansion] and an excellent museum. You couldn't ask for more.