Of course, the '60s was a study in decadence. Everything just got worse and worse, and at the end of the '60s, everything was so horrible that people were killing each other.

You can take an object and simply put anything you want in that object, and I accessed that partly through Freudian ideas.

I was very happy to be living in New York at that time, more than in the present time. Now it's all commerce.

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 had no idea what art was. There was one art class in high school, but it didn't make a big impression on me. Then I went to college and thought I'd become a writer.

The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.