“Samuel thundered that no American factory hand was worth more than eighty cents a day. And yet he could be thankful for the opportunity to pay a hundred thousand dollars or more for a painting by an Italian three centuries dead. And he capped this insult by giving paintings to museums for the spiritual elevation of the poor. The museums were closed on Sundays.”

“And Samuel bought newspapers, and preachers, too. He gave them this simple lesson to teach, and they taught it well: Anybody who thought that the United States of America was supposed to be a Utopia was a piggy, lazy, God-damned fool. Samuel thundered that no American factory hand was worth more than eighty cents a day. And yet he could be thankful for the opportunity to pay a hundred thousand dollars or more for a painting by an Italian three centuries dead. And he capped this insult by giving paintings to museums for the spiritual elevation of the poor. The museums were closed on Sundays.”

“A painting in a museum hears more ridiculous opinions than anything else in the world.”

“The total cost of the Federal Arts Project was only $23 million. Many of these paintings, sculptures and prints were given to museums, courthouses, public buildings. . .. I think that today those in museums alone are worth about $100 million.”

“In Italian museums are sometimes found little painted screens that the priest used to hold in front of the face of condemned men to hide the scaffold from them.”

“You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.”