I got involved with things intangible and immeasurable, physical, yet metaphysical in their effect. I wrote a letter to Charles Harrison of the Institute of Contemporary Art in London to include in any printed material for his show the idea for my piece: “THERE IS SOMETHING VERY CLOSE IN PLACE AND TIME, BUT NOT YET KNOWN TO ME.” This was not just a title, but a feeling about something. Another piece went to the museum in Leverkusen, Germany, also concerned with something, which was searching for me and which needs me to reveal itself, but is unknown to me. Lucy Lippard’s show in Seattle [1970] consisted of 100 index cards. So it was just on one of the index cards. There were quite a few pieces that tried to get at something. Yet because of the nature of something, it cannot be dealt with directly.
Would you care to tell how critics and collectors deal with your art?
There are no collectors, for there is nothing to collect.
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