I think the optimal artwork is in constant circulation with the world around itself.

The plane as an object has been a huge effort to make. It is a sculpture, a technological invention, a piece of aviation culture. But really, it only exists to be inserted into a variety of landscapes, to be a catalyst, to offset them.

I'm depending on other people to take the work and run. And if they run in so many directions, they sort of cancel each other out. So the meaning is always open.

I've made a poster at home. You know the iconic image of Che Guevara, the black and red graphic of his face? I think it's the perfect graphic, the best graphic ever made. I cut a Concorde out and put it over his head so it's Che looking up and the Concorde going by. Both are dead, maybe obsolete.

I'm neither shy nor impressed by media and press. It's just another industry to me. My response to the criticism was, "I work with a steel factory. Why can't I work with the media?"

"Naming Tokyo" kicked off at the Palais de Tokyo in Paris in June, and it's going to travel to various art institutions for years to come. Every time it is shown, I'm developing the research and involving more and more people in it. The final conclusion of the work would eventually be to put up street signs in Tokyo with my names on them.

I've gotten all kinds of reactions and it's been used in so many different ways.