Agnes Denes: What I did for my last act as a painter, if you call me a painter, was to photograph the weave of the canvas, and enlarge it and enlarge it until it became like a landscape. Now my fingers are not moving anymore.
Masha Tupitsyn: They’re couples, or more abstractly, binaries.
Denes: They get disoriented. Yes. It’s amazing.
Tupitsyn: I limit myself to one entry per day.
Denes: When we attended global conferences and talked about all the earth warming and the problems about climate change, nobody listened to us.
Tupitsyn: It isn’t reliable or embodied or physically located.
Denes: [Laughs] Most wonderful things are unconscious.
Tupitsyn: Which is about being and not being together.
Denes: Anything important has to be almost invisible. But that's unimportant, that's neither here nor there. How do all projects come about?
Tupitsyn: I think the answer is in the question.
Denes: People have too many problems during the day; they don't want to think.
Tupitsyn: It makes the failure of real-life masculinity tolerable by giving it a fantasy double.
Denes: I wish I could. I got this strange little monster.
Tupitsyn: Yet the awareness of precarity, and how to respond to it appropriately, is the way of love.
Denes: Mostly I’m learning. But I have to, to know that I don't want it.