Sol lewitt

I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.

I became interested in making books, starting about 1965, when I did the Serial Project #1, deciding that I needed a small book to show how the work could be understood and how the system worked.

Minimal art went nowhere.

During the '70s I was interested in words and meaning as a way of making art.

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.

The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is...

The other great development has been in photography, but that too was influenced by Conceptual art.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.