Art Is The Highest Form Of Hope.

A Lot Of Different Things Had To Come Together Over The Years, Accumulated Experiences Of A General And Personal Nature, Before The Idea And The Decision Were Developed And Then Carried Out.

As I See It, All Of Them - Tachists, Action Painters, Informel Artists, And The Rest - Are Only Part Of An Informel Movement That Covers A Lot Of Other Things As Well. I Think There's An Informel Element In Beuys, As Well; But It All Began With Duchamp And Chance, Or With Mondrian, Or With The Impressionists. The Informel Is The Opposite Of The Constructional Quality Of Classicism - The Age Of Kings, Or Clearly Formed Hierarchies.

With A Brush You Have Control. The Paint Goes On The Brush And You Make The Mark. From Experience You Know Exactly What Will Happen. With The Squeegee You Lose Control.

As Far As The Surface Is Concerned - Oil On Canvas, Conventionally Applied - My Pictures Have Little To Do With The Original Photograph. They Are Totally Painting (whatever That May Mean). On The Other Hand, They Are So Like The Photograph That The Thing That Distinguished The Photograph From All Other Pictures Remains Intact.

The Reason These Paintings Are Destined For New York Is Not Because I Am Disappointed About A Lack Of German Interest, But Because Moma Asked Me, And Because I Consider It To Be The Best Museum In The World.