I think it’s the quest and the challenge that keeps you going. When you get to a point of where you can do something, somehow, that you feel you can do, and you anticipate the end result, it’s no longer very interesting. You’ve got to, I think, risk making a terrible painting, or a terrible idea, and see what you can do with it. And it’s often disastrous. I mean, if you can get one painting out of 12 or 15, that’s a very high batting average, and you better look to yourself to be a little bit more… editing. And you see, one of the problems with painters is we don’t have editors like you do. We know and you know how important editors are, and have been. So we then have to, I think, really move to critical confrontation, in order to somehow, hopefully ensure that you’re not degrading your work, being repetitive, becoming a kind of art world employee where you’re expected to make these light manufacturing products. I think that’s a kind of death.