“Goethe remarked, back in the 18th century, that a man of 50 knows no more than a man of 20; they just know different things.”

“We are believers in practice.”

“There are a lot of places a writer desperately wants to go but is afraid to. You have to learn not to worry about what people are going to think of you personally.”

“We can’t walk in anyone else’s shoes. Maybe the goal—not just of art, but also of being here—is to walk beside one another.”

“Lineages that focus only on proper-named artists are not only Eurocentric and masculinist but plain boring.”

“An individual painting, it ends on kind of a period. Whereas a body of work ends with a question.”

“What fantasy of salvation is left over for the writer?”

“The most generative thing you can do as a writer is to go out and see other people’s work.”

“It was a lot easier to be yourself before the Internet, before you were constantly being shown what the other possibilities were.”

“For me, the life of theory has been shaped by the experience of untimely loss.”

“That was the cleverness of Andy’s business structure: you could be the editor of Interview if you could figure out how to pay for it.”

“Something lived-in and repaired in a beautiful way is itself beautiful.”

“Why should I be reading something that isn’t going to change or influence me to have a new feeling?”

“Critical theory, not art or architecture, was the avant-garde of that time.”

“Activism can be, and often has been, about bringing dignity to life and death.”

“The new tools ended up in the same old hands.”

“I think the hardest thing as an artist is to find form for your questions.”

“Where’s the anti-aesthetic? The critique of practice is gone.”

“These terms—‘What do we own?’; ‘What is the same?’—were among the modes of address floating around at the time and seemed to fit.”

“There is now a postmodernism cobbled together from these antecedents that hangs over contemporary culture.”

“I’m not interested in just looking but in having an experience and then expanding from there.”

“The ability to self-represent is crucial; it is the first condition of possibility for any kind of representation.”

“The futurist California never happened—it was never tried.”

“I’ve never been someone who could be influenced very easily.”

“I’m always cognizant of life being the most interesting thing, and writing coming out of that.”

“I’ve only lived my gay sex life in English.”

“Painting can only live if it wants to die.”

“What does it mean to problematize your own memory or your own sense of self?”

“I had the most boring job of all of my friends who were working in the early days of hip-hop.”

“My body, your body, was already implicated in the zero degree of painting from day one.”

“I have always wanted to fight cultural amnesia, and I don’t know how we do that without museums.”

“I’m writing to anyone with a political imagination.”

“There is this moment when you have to reject everything in order to push yourself forward.”

“I like a kind of writing that’s irreducible—just itself and nothing else.”

“How do we labor to bring ourselves into the present?”

“I think we need to de-frame art and let it be free.”

“I spent my youth in a world of women who were, and who insisted to be, witnesses to the fate of women.”

“What matters is not only the writing of time as history but the writing processes of technologies.”

“All my life I’d been having arguments with myself that I couldn’t properly solve within the jurisdiction of myself.”

“I’m interested in all the forces that liberate and constrict sound.”

“Trans women have never really had a consolidated, ongoing, well-documented, accessible, aesthetically varied, intergenerational, interracial culture.”

“My work is about staging and confronting our reality with fiction.”

“I like to be both inside and outside.”

“The ecological is a sensibility.”

“It’s too easy to be curious, but not optimistic; or optimistic, but not curious.”

“Torture and therapy here are not antipodal.”

“Simulation faced the same unceremonious end as its referent.”

“We are forever circling the drain.”

“There’s something freeing about not owning every word.”

“At this edge of legibility, we can find new language, frameworks, and tools.”

“People sometimes thought I cared more about myself than I did.”

“Not having moments to grieve is a combination of raced, classed, and gendered positionality.”

“I was already the enemy to a lot of the activists, because I wasn’t representing gays in a positive way.”

“They stood around, laughing, while drugs crumbled in their blood.”

“If I ever reached a milestone I would run away in horror.”

“We could say that the entire enterprise of art has a gimmick problem.”

“‘Asian American’ identity may be a construction but the social and psychic life of racialized people in America is very real.”

“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.”

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

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

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

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

“I’ve never understood catharsis.”

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

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

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

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

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

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

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

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

“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.”

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

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

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

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

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

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

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

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

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

“November is both a map and an archive of our cultural present and possible futures.”