A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface. - Donald Judd

I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new. I didn't want to get into something which is played out and narrow. I want to do as I like, invent my own interests. Of course, that doesn't mean that people who, like Newman, still paint are worn out. But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment. I think what I'm trying to deal with is something more long range than that in a way, more obscure perhaps, more involved with things that happen over a longer time perhaps. At least it's another area of experience.

I think most of the art now is involved with a denial of any kind of absolute morality, or general morality. I think most of us in one way or another are involved in ideas of a fairly loose world, however it's expressed, whether obviously as in Chamberlain or just accidentally, or, oh, like Newman.

The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair. These are proportion, which is visible reasonableness. The art in art is partly the assertion of someone's interest regardless of other considerations. A work of art exists as itself; a chair exists as a chair itself. And the idea of a chair isn't a chair."