I realized the wood was better before I cut it, than after. I did not improve it in any way [by carving it]. - Carl Andre

We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything.

Talking about the particles, I know I don't have any special theory of particles. It's just the way it came out and that's the way I want to do it. Also, there are advantages to particles: you can't break them; they don't break apart. They don’t have any rigid connections; there are no rigid connections to break. The particles are always shifting around a little bit and you have to kick them back into shape. It's like tuning a piano every once in a while. I like the idea of something being permanent by being non-rigid, being absolutely non-rigid but not having a rigid form that can be broken. But a theory of particles, I don’t know. Maybe late one night after a few drinks I explained to Lucy Lippard a theory of particles. I'm sure I didn't remember the next day.

I think it's called Arte Povera. But it doesn't mean 'poor art'. It means the art which you would do out there if you were nobody at all. Aspects of this are street art and so forth. Earthworks interest me to the single extent that it means a great extension of the possibilities of materials. Dirt is a wonderful material to make things out of. And mud and rocks and things like this...