Tobias Meyer / Jony Ive, 2010. Video. 5min.43 sec.

Tobias Meyer: 'May 2008 Is an extraordinarily exciting season for the contemporary art department because we have a range of great, great quality in the Sale. What will be enormously interesting and fun for all the experts is to install this exhibition, because when you have so many great things it's incredible to find dialogues between pieces and think about where you put this great Judd floor piece in relationship to the Bacon, in relationship to the Rothko. So all of us are quite excited to use the 10th Floor Gallery to install it'.

Jony Ive: 'Our goals for the first iMac and the goals for this iMac, they've not really changed at all you know. They're all about trying to create an all-in-one product based on amazing technology but making it very, very simple. This new iMac really is an evolution of a product that was so right in so many ways when we first released it'.

JI: The entire front of the new iMac is just dominated by this incredible new 16:9 display. We've actually figured out a way of taking the glass right to the very perimeter: it's just display, and then no display. That's it, you're just completely consumed by, by that image. There's not a detail there that doesn't need to be there. There are no visual interruptions or distractions, there's just no other noise. Everything is about the display and therefore, everything is about your content'.

TM: Rothko's signature colour in the mid-50s and throughout his life is red. It's a colour that makes you look at something, it's a colour of heat, and it's the colour of love. It's quite a breathing, living picture, you know, it's not static. It sort of moves in front of your eyes and that's quite beautiful about it. These cloud shapes are quite far from the border, they give the painting quite a lot of space to breathe. So it's a very delicate game that the artist plays between filling the canvas with colour but at the same time allowing it to be an explorable space that doesn't restrict you.

JI: When you first see the mouse it could not be any simpler, but I love the way that it scales from being something that is that apparently simple to actually being really remarkably sophisticated. I mean we've finally figured out how to take the multitouch technology and implement it on a mouse. It's still a point and click mouse but now the entire top surface of the mouse is, is basically a multitouch sensor.

TM: You immediately see the radical nature of this object because it demands space, and it demands space by pushing out and pushing up. Judd doesn't put the object onto a firm platform but he puts it on an edge and then you, also address it from an edge. You know, there is a physical forcefield that comes out from it, and that is quite, quite strong and very Juddian. 

JI: You can scroll anywhere on that top surface, you can swipe. It is incredibly intuitive, I mean, you can use it without thought, you know, it's just the way you would have expected the mouse should have always worked. 

TM: 'It speaks of everything that Minimalism speaks of, it's the power of the material, the power of the pure shape, and the idea that you change behaviour as you encounter it, and it points towards many other artists that started to work in the 70's in this language but it's Judd who does it in '64 and it's Wember, the curator of the Lauffs family, who recognises it in 1968.'

JI: The core ideas, the founding ideas of the iMac are as relevant and as right now as they were, you know, with the first one. And so rather than just you know being consumed by reinvention, this is one of those fantastic opportunities to, to be very clear about what's right and we don't want to change. So that we can put all of our energy behind improving those aspects of the product that we can make better. And that's what this iMac represents, it's a collection of our very best thinking, our very best innovation.

TM: Highlights of the Sale will be on view from the 2nd of May onwards, together with the Impressionists exhibition, and then of course fully on view four days before the Sale on the 14th of May. So, I can only invite you to come and have a look because you know the juxtapositions and the dialogues between the objects themselves and the objects themselves will be very exciting, and should be amazing to look at.