I don't think there is a distinct change, because in the West I'm not a person who can serve his purpose.

Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.

I believe [the architecture firm] Herzog and de Meuron and our collaboration made the product the best it could be.

I think I'm just a traveler. When you walk across a river and there's no bridge, you build one. I'm used to having to deal with Chinese Communist ideology - it's not really an ideology, but a method of control. But China's problems are not just China's problems - they're human problems. Humanity has always worked better when you see it as one.

My image of what a city should be - the super-rich and all the poor and desperate and the people who have some kind of a desire. It's a surviving game, people trying to survive on many different levels.

Because Chinese art is booming, it legitimizes this profession.

I'm not a writer, but today I think you have to be everything. As an artist you have an obligation to let people know what is on your mind and why you're doing this.