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

People get upset when Baghdad, the "Cradle of Civilization" is burning, or when the Buddhas in Afghanistan are falling. These are real concerns.

I find myself doing fieldwork physically, in the tradition of anthropology. I literally go to the opposite end of the world, to the most exotic faraway places I possibly can, only to find the closest things to me when I get there.

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

There are ends, occasionally, with projects. That happens. But they are natural dead ends. It's usually the outside situation that demands an ending. I never really settle for one.

"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.