My understanding of Chinese history is limited. So far, I have only scratched its surface; I wish I could find out more.

I think Allen [Ginsberg] was a person who's like a child.

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

Because Chinese art is booming, it legitimizes this profession.

Any design, any city, any kind of craziness or tragedy, it all comes from a long time of preparation.

Artists are the worst [people]. They are selfish, self-centred; they don't care what happens.

A historical property has morals and ethics of the society that created it and it can be revived. What I mean is that we can discover new possibilities from the process of dismantling, transforming, and recreating.