Of course, I'd welcome protest. Good criticism is hard to find.

I'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.

Seeing your work go into storage in an art museum is obviously a tragedy of any cultural product - which doesn't mean I am anti-institutional.

My purpose isn't to be confrontational. My purpose is to find out about the world and play myself against it to the extent that it is even conceivable.

Really the moment I decided I wanted to do art seriously, I left art school. I wanted to be with people who were interested in the same things I was: popular culture.

In a way I am saying the nation-state doesn't exist, borders don't exist, you can try going anywhere. It is a kind of pre-Internet consensus I always had in me.

National parks, zoos, protected areas, polluted seas - using the whole world as a readymade, I thought about it as a stage set. To activate a stage set you need a drama, an actor to offset it.