"Because my studio practice is project based, involving extensive research that often overlaps with interests in activism and pedagogy, the concept, as well as the material form of an archive, is central to the way I work."
"Something very wonderful has happened. If you look at how men engage with their children, it's totally different. My husband Ray was the only man with a child in a backpack at the big demonstrations in the 70s. He used to get wolf-whistled picking our son up from school."
"...in my work, I present narrative prose that unfolds in time, creating a sense of something accumulating over time in the gallery space."
"I've noticed that the way some women have been written about, it's always about the work in question. There's not the same riff they do for the men, which is to say where they came from, how they're connected, who they influenced. They don't give them a historical presence."
"I think that all borders are anathema to art. Internationalism is, I believe, always connected to movements that are progressive and the opposite goes for closing down."
"I think if I see any hope it's in the current generation of women of colour: they are just on fire. If you look at most of the demonstrations and organisations that are active right now, the spokesperson is usually a young black woman, and that is hopeful."
"I often use things that come from around me, in my domestic situation. So when I came across lint, in my dryer, it presented a challenge. How do I process that into a form that will work? I never fetishize the material, I just like it to feel right for the ideas."
"I didn't set out to shock. I was formed in the moment of conceptualism. My models were Art and Language. I was carrying out an interrogation. I wanted to deal with the stuff of life... I wanted to engage people emotionally and intellectually at the same time."
"What is important to me is to be known as an artist whose work is informed by feminism. I don't think there is such a thing as feminist art that can be defined in terms of a certain style or content."
"In the 1970s, being a feminist took over from being a woman as the representative of a marginalized other. So, yes, my work was approached differently by most of the conceptual artists who were men."
"The tactile, or what I might call haptic, quality of the work is a means of making affect pass into visual form, a kind of emotional residue, analogous to the experience of music that lingers as an afterimage."
"She is the godmother of feminist art."
