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There is a lot of interest among the descendants of Holocaust victims in getting back artworks that were looted by the Nazis, for getting at least some form of compensation and closure for the horrors visited upon their families.

In Germany I have been acknowledged again since the fall of Hitler, but my works, partly suppressed by the Nazis and partly destroyed by the war; have not yet been republished there.

History develops, art stands still.

After the reunification, there was a certain sense of foreignness because daily life in the former East German states was completely turned inside out - everything from the shops to the bureaucracy to the working world.

Of late years (perhaps as a result of our political changes) art has borrowed from history more than ever.

Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.

Wherever art appears, life disappears.

I feel like I have at least begun to make a contribution, but my most significant concern has to do with whether my actual art will be preserved for future generations or be erased.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

The 1990s, after the reign of terror of academic vandalism, will be a decade of restoration: restoration of meaning, value, beauty, pleasure, and emotion to art and restoration of art to its audience.