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

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.

"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.

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.

The space program caused so much future-thinking in culture. People who couldn't go to the Moon were building space-fantasy chairs and corsets and hairdos and anything that they could put their hands on.

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