“We are all hungry and thirsty for concrete images. Abstract art will have been good for one thing: to restore its exact virginity to figurative art.”

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 25.

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 206

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 154

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 158

On how art might turn “dangerous” if it becomes too political in “In Memoriam: An Interview with the Late Amiri Baraka” https://www.sampsoniaway.org/interviews/2014/01/10/in-memoriam-an-interview-with-the-late-amiri-baraka/ in Sampsonia Way (2014 Jan 10)

1880s, The Sentiment of Rationality (1882)

Source: The Agony and the Ecstasy: A Biographical Novel of Michelangelo

Donald Judd, in: American Dialog, Vol. 1-5, (1964), p. ix
1960s
Context: Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics.

Source: 1970s and later, Themes and Conclusions (1982), p. 188.