“Speer never made the mistake of saying there were no extermination camps. He said he didn't know about them. He impressed the gullible by declaring himself willing to accept responsibility for Nazi crimes even though he was not aware of their full scope. But as the man better informed about the Reich's industrial resources than anybody else including Hitler, Speer was in fact fully aware of the purpose and the extent of the Final Solution and by pretending he was not he did the opposite of accepting responsibility.”

L’Art Corporel, 1979
Context: Before man was aware of art he was aware of himself. Awareness of the person is, then, the first art. In performance art the figure of the artist is the tool for the art. It is the art.

vol. 1, p. 131
The Nature and Destiny of Man: A Christian Interpretation (1941)

Source: Flesh and Fire (2009), p. 313

"The Contest in America," Fraser’s Magazine (February 1862); later published in Dissertations and Discussions (1868), vol.1 p. 26
Context: War is an ugly thing, but not the ugliest of things: the decayed and degraded state of moral and patriotic feeling which thinks that nothing is worth a war, is much worse. When a people are used as mere human instruments for firing cannon or thrusting bayonets, in the service and for the selfish purposes of a master, such war degrades a people. A war to protect other human beings against tyrannical injustice; a war to give victory to their own ideas of right and good, and which is their own war, carried on for an honest purpose by their free choice, — is often the means of their regeneration. A man who has nothing which he is willing to fight for, nothing which he cares more about than he does about his personal safety, is a miserable creature who has no chance of being free, unless made and kept so by the exertions of better men than himself. As long as justice and injustice have not terminated their ever-renewing fight for ascendancy in the affairs of mankind, human beings must be willing, when need is, to do battle for the one against the other.

2010s, I don't know, so I'm an atheist libertarian (2011)
Context: My friend Richard Feynman said, "I don't know." I heard him say it several times. He said it just like Harold, the mentally handicapped dishwasher I worked with when I was a young man making minimum wage at Famous Bill's Restaurant in Greenfield, Massachusetts.
"I don't know" is not an apology. There's no shame. It's a simple statement of fact. When Richard Feynman didn't know, he often worked harder than anyone else to find out, but while he didn't know, he said, "I don't know."
I like to think I fit in somewhere between my friends Harold and Richard. I don't know. I try to remember to say "I don't know" just the way they both did, as a simple statement of fact. It doesn't always work, but I try.

'Terry Gilliam', p. 279
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Source: Projective methods for the study of personality (1939), p. 404 as cited in: Gardner Lindzey (1961) Projective Techniques and Cross-Cultural Research. p. 36

In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s