To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel v… - Philip Guston

Sylvester: What about figuration in a more literal sense?

I have two thoughts [on the question of interviewer Joseph S. Trovato: 'Were the projects a good thing for American art?']. That practically all of the best painters of my generation developed on the projects such as Pollock, de Kooning, Brooks, Hague (sculptor), B. Greene, and Baziotes. I could go on and on. My second thought is that the reason it was good is that it had a broad base due to the economic situation we were in - the depression - and all kinds of art and styles, plus all degrees of talent were employed. Everybody was given an opportunity to prove himself. The many painters I mentioned above who have come such a long way is proof of this.

To will a new form is inacceptable, because will builds distortion. Desire too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else – a condition somewhat unclear, but which in retrospect becomes a very precise act. This 'thing' is recognized only as it comes into existence. It resists analysis - and probably this is as it should be. Possibly the moral is that art cannot and should not be made.