M.K.: I think Anthony Caro is a great artist, in the sense that he is a great manipulator of shapes and forms and parts. He is not an eclectic artist, but I don’t know how much he changed the world of sculpture in general. Anthony Caro was Jewish. «Caro» was a great Rabbi, he was living in Tsefat, in the North of Israel. [3] He wrote a book, they call it «A set table», «The Prepared Table», or the «Well-Laid Table», about the way to live, about what you are allowed to do. It was not just theology, but about the living. What I want to say is that I always thought that Anthony Caro partially denied his Judaism.

T.H.: Your relation to Judaism, to the history and continuity of your society and culture certainly became very important, but in your earlier work you were strictly occupied with problems of high modernism, neo-constructivist abstraction and reduced geometrical figuration. So we are touching on both abstraction and its privation; an innovative sculptural impulse on the one hand and a critical perspective towards profanation of cultural ideas in our time.

M.K.: In the 1960s I did sculptures that somehow related to «minimalism». Let me tell you something about my Broken Glasses (fig. 11, 12).