I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

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.

I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.

It's hard for me to understand how working-class people support themselves.

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

You make history when you do business.