I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

I worked with someone else's photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn't that be my art?

There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

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

It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.

If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture - not only national culture but global culture.