For artists and intellectuals today, what is most needed is to be clear about social responsibility, because that is what most people automatically give up. Just to protect yourself as an individual is very political. You don't have to march on Tiananmen, but you do have to be clear-minded, to find your own means of expression.

I am very much interested in the so-called useless object. I mean, it takes perfect craftsmanship, beautiful material carefully measured and crafted, but at the same time it’s really useless.

The purpose of art is the fight for freedom.

If I walk on the street, if I go to a restaurant, people come to me and say: "Can we take a photo together? Can you give me your autograph?" They would bring their expensive Armani or Prada wallet to sign. Other people who are desperate show me a photo of their dead daughter and ask: Can you support me? I tell them: How can I? Morally, of course, I sympathize with you. But I cannot support you and you cannot support me. This is the condition of this society. We are separated.

I don't think it's worth discussing new directions in the context of Chinese art - there were no old directions, either. Chinese art has never had any clear orientation.

My angst and my insecurity reflect the state's angst and insecurity. The state is scared too.

Even though everybody who looked at me would call me a Chinese artist, that's the 1980s. New York in the '80s was not so interesting. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.