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.

The Stonehenge proposal got a lot of interesting criticism. One of the best - or worst - said something like, "Go home to Las Vegas." I think this project could possibly be realized at a very late part of my career. Right now, I don't have the authority, the budget, the credibility.

Of course, I'd welcome protest. Good criticism is hard to find.

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

The moment right now, it's a tragically regressive time we live in, you know. We just grounded the Concorde. Where's the future? We've lost the future.

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

I wouldn't say the anthropologists were making art, but they were definitely justifying their practices with very personal reasoning, passion, and they were also experimenting with form. There was a sense of trying to be as sincere as possible, whether you were investigating something far away from you or very close.