“He [Richter's art-mate, the German painter Sigmar Polke ] was very different, he was not cool... He had irony. He was very funny. The things we did together [around 1963 – 1970] were a kind of craziness... We thought everything was so stupid and we refused to participate. That was the basis of our understanding.... he was able to paint those little dots in his raster paintings by hand with such a patience while he was living with his two children and his wife in a small subsidized apartment.”

— Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), pp. 45-46, note 43

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Gerhard Richter 96

German visual artist, born 1932 1932

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“Lueg and Palermo saw what was good, what was bad, in what I was painting. That became the basis of our relationship, that we shared an idea, a sensibility. With Sigmar Polke, it was different. Our relationship was based on being outrageous. I have difficulties with his work. He [Polke] refuses all values and criteria, and for that reason I could never talk to him seriously. He refuses to accept any borders, any limits.”

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“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

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Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

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“When alone he secretly shook his head. But suddenly he recalled the analysis made by the Party secretary regarding "two kinds of social system, two attitudes, and therefore two different results." He felt as if he had seen a ray of light in the darkness. He said to himself, "Lao Chiu can endure pain of such magnitude, and in spite of his burns he is always thinking of going back to the furnace. He wants to live. Why should he not be able to live?" That moment, suddenly the doctor and the patient were drawn closely together. From then on, the doctor thought of the patient often and also tried to compare himself with Lao Chiu. The more he compared the more he felt ashamed of himself and the more eager he was to do his best for this worker. So, from the very first day the assistant surgeon learned something from his patient.”

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“He did understand. Finally, fatally, he did. He had thought he was the master of history, that his fractal world-tree had grown according to his will. He had allowed himself to be deceived.”

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Gerhard Richter 96

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