“It’s really hard for me to use the term ‘history’ in the singular, because it suggests a reductivist view of how moments and events congeal and reflect the passage of time. I’d rather stick to the pluralness of ‘histories’ in order to suggest the simultaneity, the parallel forces at work, which produce lived experience.”

You want it, you buy it, you forget it.

The reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.

Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.

I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.

What I’m trying to do is create moments of recognition.

I think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.

The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.

Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.

It’s good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can’t be personalized.

The different aspects of my activity, whether it’s writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don’t make any separation in terms of those practices.

Look, we’re all saddled with things that make us better or worse. This world is a crazy place, and I’ve chosen to make my work about that insanity.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.

I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.

Order is the law of nature, the universal trend, the cosmic direction. If time is an arrow, that arrow points toward order.

The future is pattern, organization, union, intensification; the past, randomness, confusion, disintegration, dissipation.

Possibly the only real object-oriented system in working order. (About Internet)

In order to develop a pioneering missional spirit.

I did all kinds of things in order to earn a living.

All he knew was chaos and this mortal world was obsessed with order

Kumquats ripen, open and plop flatly to the floor-and outside, in a neat, trimly-hoed kitchen-garden.

A state which dwarfs its men, in order that they may be more docile instruments in its hands even for beneficial purposes–will find that with small men no great thing can really be accomplished.