Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.

Our culture now wonderfully, alchemically transforms images and history into artistic material. The possibilities seem endless and wide open.

I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'

Yeah, I read history. But it doesn't make you nice. Hitler read history, too.

Throughout human history, the apostles of purity, those who have claimed to possess a total explanation, have wrought havoc among mere mixed-up human beings.

Black history is American history.

I didn't do improv in college, I never performed, I didn't do theater either. I was in student government, I was a history major.

No period of history has ever been great or ever can be that does not act on some sort of high, idealistic motives, and idealism in our time has been shoved aside, and we are paying the penalty for it.

It's very attractive to people to be a victim. Instead of having to think out the whole situation, about history and your group and what you are doing... if you begin from the point of view of being a victim, you've got it half-made. I mean intellectually.

We wonder if we will be the first generation in American history to leave our children with fewer opportunities and a less prosperous nation than the one we inherited.