Growing up in Chicago, there was a very particular type of home that would display the black Jesus figure. It wasn't a radical home. You wouldn't find these in a Black Panther house. There's still a strong allegiance to Christianity.

I have an investment in the signifying aspects of the material as well as an understanding of antecedent bodies of work. That informs the way I make marks and make decisions.

When I was young, I remember feeling a real thirst for opportunities around the arts, for learning about how artists function and how institutions work.

I'd begun to collect things that were lying in piles on the floor of my studio. I had run out of space, and I started to build shelves. I turned around one day and realized that that was the vehicle for carrying so many of the things that I was looking at and talking about, so they went from the walls to the works.

We believed that there's no such thing as good art or bad art. Art is art. If it's bad, it's something else. It was a much, much harder line in the '50s and '60s than it is now, because the idea of art education didn't exist - they didn't have a fine arts program when I was a kid.

Education is the key to unlock the golden door of freedom.

In the course of her education she had gone through the history usually put into the hands of young people... now her ripened reason gave to her present study at least the advantage of novelty.

I write my books in my head, and not in a specific study with a view. The view is from my inner eyes.