They Are Specific Places I Have Discovered

But I Would Like To Reach The Point Where I Could Cut Up An Illustrated Magazine At Random And See To It That The Parts Would Each Become A Painting. I Cannot Properly Explain It Right Now. Already Now I Am Searching For The Most Boring And Irrelevant Photo Material That I Can Find. And I Would Like To Get To The Point Soon Where This Determined Irrelevance Could Be Retained, In Favor Of Something That Would Be Covered Up Otherwise By Artifice.

Contact With Like-minded Painters - A Group Means A Great Deal To Me: Nothing Comes In Isolation. We Have Worked Out Our Ideas Largely By Talking Them Through. Shutting Myself Away In The Country, For Instance, Would Do Nothing For Me. One Depends On One's Surroundings. And So The Exchange With Other Artists - And Especially The Collaboration With Lueg And Polke - Matters A Lot To Me: It Is Part Of The Input That I Need.

Art Is The Highest Form Of Hope.

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.

What Attracted Me About My Mirrors Was The Idea Of Having Nothing Manipulated In Them. A Piece Of Bought Mirror. Just Hung There, Without Any Addition, To Operate Immediately And Directly. Even At The Risk Of Being Boring. Mere Demonstration. The Mirrors, And Even More The Panes Of Glass, Were Also Certainly Directed Against Duchamp, Against His Large Glass.