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.

Architecture is my first love, if you want to talk about what moves me... the ordering of space, the visual pleasure, architecture's power to construct our days and nights.

I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. If this work is considered incorrect, all the better, for my attempts aim to undermine that singular pontificating male voice-over which correctly instructs our pleasures and histories or lack of them.

You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.

The place of the arts in the classroom is essential in encouraging invention, ambition, and an understanding of the importance and pleasures of living an examined life.

Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.

I feel uncomfortable with the term public art, because I'm not sure what it means. If it means what I think it does, then I don't do it. I'm not crazy about categories.