"Relation to black holes. In 1959, before coming onto the theory of Auto-destructive Art, I was fascinated by the possibility of using very powerful steel presses to make sculpture. I had seen a report of a press that had the power to crush large pieces of metal but could be attuned to the point of delicacy where it could crack the shell of an egg. I wanted to use such a machine to form relatively small pieces of sculpture. What interested me, was the thought of the trace of the impact of the press on the surface of the sculpture. In Judaism, one of the profound concepts, is that of the''Ruach',referring to the 'Breath' of God on the world and on living beings. Here there would be an exploration of the breath of the all-powerful press, with its capacity to manipulate vast power on a quite modest piece of matter. As you know, at about the same time Cecar was crushing pieces of metal by means of large presses in Paris and forming sculpture in the form of blocks, very small blocks. The point in relation to Black Holes is this: I was concerned with the enormous pressure contained in the implement and the pressure built up in the emergent sculpture. And the pressure of forces within a Black Hole is a key feature of the phenomena. In a way, I was setting up the equivalent of Black Holes within a sculptural form. This feeling for enormous pressures stayed with me when later in that tear, 1959, I developed the theory of Auto-destructive Art".