I was always interested in drawing. As a child, I started my own country, which was called Neubern. It was located in the South Atlantic. I did the documentation of Neubern in great detail. I drew everything that was there, all the houses and all the cars and all the people. We even had a navy and an air force. I spent a lot of time drawing.

The art world was very small and the people got together at parties. There was less commercialism.

I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.

I started to draw buildings. I called them Proposed Colossal Monuments - they weren't for real, not for actual building. It was more a critique of architecture.

I don't do abstract art because I don't find it as interesting as I do subjects and depictions.

The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.

Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too.