“When living honorably is more important than staying alive, you’re ready to fight effectively for what you believe in.”

“The essential antagonism is not between the workers and bosses but between the Humans and the Blacks.”

“The paradigmatic Hongkonger, especially from the generations between 1949 and 1997, is transnational and neoliberal.”

“Historically, queer women have been on the front lines of every progressive movement, but not always openly.”

“Things improving for old women artists is like things improving for Black Americans. Things improve. But things stay shitty.”

“The modern manifestation of the museum has its origins as a colonial and disciplining institution.”

“One mantra in particular strikes me in this moment—and it is from John Waters's Female Trouble—'crime is beauty.'”

“Architecture is not about the wellbeing of humans at all. It doesn't simply house the human, it remakes the human.”

“There will be gradual changes in the art world, but the arts are often the last to change.”

“Even though I don't see criticism as art, I don't see it as secondary to art. I see it as a practice parallel to it.”

“We don't need to go beyond blackness. It's not a before and after question.”

“The idea of three-act structure is in my head a lot, destroying my stories before they really begin.”

“I experienced my transness as a shape the Internet made when it looked at me.”

"Rethinking contemporary aspects of the informe—related to technology, gender, disease, and race—in a Bataillean key."

“It’s easy to recognize specters of Bataille’s thought today, for better and for worse.”

"At the core, I think of my creative language as being rather formless."

“L’informe comes out of WWII, the atomic bomb, and the Holocaust.”

“Sacrifice is a pointed instance of dépense, an exquisitely sacred combustion, and one that runs throughout Bataille’s economics.”

"I've never understood catharsis."

“Blackness presents the possibility of a thoroughly anti-Idealist aesthetic and theory of objects.”

"I can’t think of architecture as anything other than a performative art form."

"I decided to schmear my queer Jewish pinko self in schmaltz and go out and grease up the stage."

“The store was about conversations between worlds and how those conversations meshed together and only Sara could do that.”

“My attention tends to focus on the micro, on what’s right in front of my face—be it a memory or on a screen or some fragile blip of the ‘real’—and I let associations spiral out from there.”