This is the sort of pursuit in art that I like best: the pursuit of the just-visible, of some mystery that seems to me to lie at the thresholds of perception.

There’s been a lot of criticism of my paintings because a lot of people don’t like that they’re a little a hard to see. Some people hate it. They’d rather see a bowl of daisies.

What I’ve done is eliminate every single literary referral context I can eliminate. I’ve isolated the forces of the relationships as best I can by eliminating every single experiential context I can eliminate.

I can’t really say she liberated painting because there is a quietness to her work, not a path through a park or a wilderness but through the space of our world.

Within the general emptiness of the Arundels, even the smallest touch of paint seems surprisingly direct and tactile, as well as bewilderingly precise […] It seems impossible to grasp just how the spare exactitude of her technique yields such magical effects.