"Hello" is pseudoscience. The only smart way to read it is not to believe in it, not to trust it, or to put yourself in it and imagine what's out there that you haven't been told or seen.

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 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 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.

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.

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."