Artmaking is pretty straightforward. Hopefully, what you’re working on is something that you’re trying to resolve. While you work towards that, hopefully you see something that wasn’t necessarily intended, and it leads somewhere else. You’re always looking for a way out; usually the way out is already in your own work.
Look at my “Irregular Polygons” [painting series from the 1960s], for example. A lot of what I was doing there shows up again in my “Polish Village” pictures [from the 1970s].
The critics come and go, and I’m still working. There are young critics and old critics and critics that are gone. So the critical line is not particularly coherent. You have to work, you have to make things. Whatever people say—your friends or anybody else—that’s after the fact. It’s over by the time they have an opinion about it.