In New York In 1915 I Bought

I Consider Painting As A Means Of Expression, Not As A Goal.

The Curious Thing About That Moustache And Goatee Is That When You Look At The Mona Lisa It Becomes A Man. It Is Not A Woman Disguised As A Man; It Is A Real Man, And That Was My Discovery, Without Realising It At The Time.

I'm Not At All Sure That The Concept Of The Readymade Isn't The Most Important Single Idea To Come Out Of My Work.

To All Appearances The Artist Acts Like A Mediumistic Being Who, From The Labyrinth Beyond Time And Space, Seeks His Way Out To A Clearing. If We Give The Attributes Of A Medium To The Artist, We Must Then Deny Him The State Of Consciousness On The Aesthetic Plane About What He Is Doing Or Why He Is Doing It. All This Decisions In The Artistic Execution Of The Work Rest With Pure Intuition And Cannot Be Translated Into A Self-analysis, Spoken Or Written, Or Even Thought Out.

Since I Found That One Could Make A Case Shadow From A Three-dimensional Thing, Any Object Whatsoever - Just As The Projecting Of The Sun On The Earth Makes Two Dimensions - I Thought That By Simple Intellectual Analogy, The Fourth Dimension Could Project An Object Of Three Dimensions, Or, To Put It Another Way, Any Three-dimensional Object, Which We See Dispassionately, Is A Projection Of Something Four-dimensional, Something We Are Not Familiar With.