In the fifties, when I lived in England, I was instrumental in distributing information about Hard-Edge Abstract painting, both in its American form and English variants of it. In New York in the sixties, I was associated with Pop art more than anything else. It seems to me, however, that the modernity of the twentieth century does not consist of any one movement or tendency being more "correct" or more "relevant" than anything else, which is the usual norm of modernity. It is the irreducible profusion of styles, their equality as historical imperatives, that counts as a specifically new factor. The range of pieces I have written, therefore, including in this section both Realism and Photo-Realism, represents a view of twentieth-century culture, not a lack of commitment to a style. In fact, the re-emergence of Realism is a sign to me of the fact that criteria of progress and obsolescence are out of place in the arts.