I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.

I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.

Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.

I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.