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

I'm very jealous of an era where people were inventing something so beautiful as the Concorde and thinking that's the next step. I'm jealous of an era when people thought, "Let's finally go to the Moon."

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

I follow these intimate connections of strangers and, surprise!, end up finding even myself in the work at some point.

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.

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.

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.