“When we compare different narratives of the same place, the tensions generated by their divergent visions allow us to consider, perhaps for the first time, how partial our perceptions always are. The comparison itself becomes a new symbolic form — a new ‘organ of reality’…”

— The View From Here

“[T]here might exist a link between the ethos of Modern architecture — a suspicion of the old, a will to ‘start again,’ a desire to conceive of time as constituted by breaks rather than continuities or cycles — and colonial culture, which similarly assumes that the previous reality does not occupy the same continuum as the subsequent reality…”

— Interpretive Keys: A Conversation between Luis Jacob and Parker Kay

“Artists have ceaselessly tried to invent images that allow us to perceive the difference between the dead version of things, and the living version of things.”

— Groundless in the Museum: Anarchism and the Living Work of Art

“An absolutely new form of art-making appeared during the previous century: the painting of empty pictures. Monochromes, near-voids, scourged canvases, and negations of painting appeared where paintings should be…”

— 7 Pictures of Nothing Repeated Four Times, in Gratitude

“Our interpretive schemas — our intentions and projects, the social and historical world to which we belong — exist ‘obviously’, which is to say that these schemas take the form of things immediately encounterable in the world. At the same time, and for the same reason, our interpretive schemas exist in veiled form, as motivations ‘hidden’ beneath things.”

— Reality as being Essentially Ambiguous: Meike Behm in conversation with Luis Jacob

“What is heretical is true, because it is heresy that propels the gears of Truth as an activity, rather than as substance.”

— Anarchy at documenta: Interview with Luis Jacob by Allan Antliff