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.

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.

In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.

I try to make that tension almost stupidly overt in my projects, almost ridiculously so. I keep coming back to the same obvious points again and again.

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?"

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

Dutch beaches were known to me as man-made territories, as part of various land reclamation projects. But I was also interested in the media reality of the Moon landing. I wanted to use that event as a measure of time, to see what had happened in those thirty years - which happens to be my lifetime as well. I was born in 1967 and I remember seeing the Moon landing on TV when I was two. All those things were in play. Then it became a big production. It took five months to gather up the goodwill and make it happen.