I'm depending on other people to take the work and run. And if they run in so many directions, they sort of cancel each other out. So the meaning is always open.

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.

Really the moment I decided I wanted to do art seriously, I left art school. I wanted to be with people who were interested in the same things I was: popular culture.

"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.

Stonehenge had an aura but it was also just stone. Then in the sixties, it became a great hedonistic, hippie, druid, rock-n-roll party site. There are amazing pictures of people up on the stones going wild and that's the image I recreated for my model of the project: full access to everyone. I even invented a Stonehenge soccer team that uses spaces between the stones as goals.

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.