If you’re not participating with your body when you’re looking at a painting, whether it’s a Cezanne — which has to do with a kind of equivocation, ambiguity, a sense of alternation — or in the case of someone like Velazquez, where the physical attributes of his painting, the knowledge that he’s showing you, and the feeling which he’s expressing, that’s all about the body, whether it’s sitting well, a state of tension, whether that heel really feels like it’s gripping the ground or expressing that contact. All of those we measure really by — in my judgment — the body and its issues.