"Let no one make the mistake of thinking that Bibi is some millionaire woman who was looking for a new hobby, she is an artist at heart. She is a very, very serious and very, very good painter - one of the most dedicated students I have had. She draws fantasticly, which is a great compliment – not everyone who paints also knows how to draw."

"Beverly is really a good artist – the real thing. She has a natural hand and her own artistic language, and we will hear about her not only as the mayor's wife."

"When I paint, I explore the interior and the exterior at the same time: I go outside, look at the colors, the nature, the world. And then I synthesize what I see into the face, into the personal, into the deep. If what I do doesn't excite me and I don't touch places of pain, pleasure and emotion, that's problematic. As soon as the mind enters the process, I stop everything and put it aside. It's clear to me that I'm working on the very honest places myself, and someone from the outside sees it and feels it."

"I want to create a real dialogue between the old and the new, between the architecture and my paintings. My works respond to the strong presence of painting in the palace, and especially to one of its treasures – a nude fresco created by Giorgione. For years I worked in the studio observing the naked body, striving to understand the movement of the line in depth. In Palazzo Grimanni, in every corner you encounter line and color, architecture and painting that connect to each other and complement each other."

"When I draw on one side of the slide, I have to plan in my head what the other side will look like. It's not easy."

"If someone pushes me into a place that isn't right for me, like labeling me and asking me what genre I'm painting in, I'll also get angry and say, 'What are you trying to put me in a box? I'm not willing to be there.'"

"My development as an artist in Israel and abroad has nothing to do with my husband, not with the people around him, not with opening doors. I don't use his connections to achieve anything or for someone to make my life easier. It's an iron rule for me, black and white, no gray."

"One of the things that irritates me the most is that my occupation will be considered 'the hobby of the mayor's wife."

"I will remember her for always putting beauty and harmony above anything else. That remains a strong memory."

"We are grateful for her rich life and for the time she always spent with other people."

"I work at night because the night doesn't have shadows."

"“A recycler at heart, Breitz scavenges the overwhelming remains of popular visual culture, applies a highly reductive editing process to them and ends up with another – and more primary – set of materials. Like the crushed Coke can, the final product is a mere sliver of its former self: distinct enough to be recognisable and yet so distorted that we balk at the memory of its original form and our pleasure in using it. Yet Breitz’s work, however simple in its execution, is far from simplistic.""

"“While appearing to subscribe to minimalist strategies, Breitz on the other hand owes much to pop. Her work brings the sparse conceptual idiom of the former to bear on the colourful realm of the latter. From the perspective of art history, her method appears as a unique, if not cacophonous, marriage of Sol LeWitt’s formulaic wall-drawings to Warhol’s production line of silk-screened Marilyn Monroes, freshly cooing out of the Factory.”"

"“Certain situations in life push you toward extreme decisions,”"

"“We were drawn to her nuanced and delicate work at the sixth edition of the Marrakech Biennale last year and are thrilled by working with her this year in Rotterdam to place a bookend to our Para | Fictions series.”"

"Her work revolves around the process of creation, rather than a belief in research or a particular canon. Simply put, she learns what the piece will be by making it."

"“What struck us was the way in which Dineo managed to make work that was very personal, intimate even, but did so with very common materials.”"

"If contemporary art is defined as ‘art that is created now’, then the Spier Contemporary is the visual and aural barometer of what it is like to live in South Africa in 2010."

"What she passed on to me – in fact, it was what I had always experienced of her – was her sense of things."

"Criticism is part of the process, but don’t let it hinder your progress."

"Criticism is inevitable. Not everyone will appreciate your work. But don’t let one detractor’s negativity deter you. Stay resilient."

"“My dream was to be an artist and to earn enough money to survive from my art … I realized that I would have to risk it at some point, or end up spending the rest of my life wondering whether I could make it”"

"“Nineteen people may love your work, but the twentieth one will hate it and will tell you so; you cannot allow that to affect you. That may sound trite, but there is huge risk in letting criticism get you down.”"

"Conceptual artist Ian Wilson (1940 in Durban, South Africa) has been interested in spoken language as an art form since 1968. He describes his own work as ‘oral communication’, and later on as ‘discussion’. At Wilsons own request, his work is never recorded either as film or audio in order to preserve the transient nature of the spoken word."

"In 1968 Ian Wilson made his final sculpture. Since then, he has explored the idea of oral communication as an art form... Wilson’s work is very hard to track down, even in terms of documentation. He has been compared to the Socratic philosophers but if there is a similarity between his practice and theirs, it probably lies mainly in the fact that everything we have from that period of philosophy takes the form of secondary fragments embedded in other texts. Wilson’s work functions almost like archaeological or geological evidence: it consists of objects that we examine in order to deduce, from scanty clues, what must have happened."

"By adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials"

"O: Why did you leave sculpture for pure reflection? I mean thoughts, language and speech."

"Language is the most formless means of expression. Its capacity to describe concepts without physical or visual references carries us into an advanced state of abstraction."

"I would be at a gallery opening and someone would ask me: “so what are you doing these days?” I would reply, “I am interested in the word ‘time’.” Later, someone would ask: “But how can time be your art?” And I might have replied, ‘as it is spoken: “time”.’ Another day, someone might have asked, having heard I was using time as my art: “So what are you working with these days?” and I would reply: “time”. I am interested in the idea […] I like the work when it is spoken: “time”.’ And so the work was used over and over again."