“It was a question of pulling aesthetics into economy and of pulling the most rudimentary and fundamental forms of agricultural economy into aesthetics, and so much the better than if I was doing it with produce that came from lands that didn’t even belong to me. It was all in a tradition of dada scandal, the very same tradition of Duchamp’s Fountain, and it was a very very ambitious idea and very very stimulating, at least that’s the way it was for a while, there were absolutely no precedents for it either ideologically or otherwise.”

(Gianfranco Baruchello & Henry Martin, How to Imagine: a narrative on art and agriculture, pp. 38–39.)