"With 'the puritan' I analyzed an episode forty years after it happened. I could see things from a distance... I put it on a grid. Geometry was a tool to understanding... it was a pleasure... there was order. Instead of feeling a person drowning, I considered the situation objectively, scientifically, not emotionally. I was interested not in anxiety, but in perspective, in seeing things from different points of view. Looking and seeing... you look as you intend to look... you see what you can.

There is Euclidean geometry, but there are also a number of other geometries so you can have a way out from the rigidity of the Euclidean towards freedom. The Euclidean is comforting because nothing can go wrong... but it is not the geometry of pleasure. To survive you must have different routines... different geometries. But geometry is a tool... only a tool. It is a means, not an end.

All these plates are different. These are optical illusions... all have more than one meaning. You have one reality and I have another reality. How much liberty will the geometry take... how much will you take? What are the limits before it snaps? There is always the fear of losing consciousness of one's limits.... But the optical illusions are comforting... they have a measure of secrecy... people don't know what you are talking about. They force you to adjust your vision. You can not be so rigid... you must adjust to the picture."
(Quotes cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 191.)