I like food because you can change it. I mean, there is no such thing as a perfect lamb chop; you can make all types of lamb chops. And that's true of everything. And people eat it and it changes and disappears.

I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I'm always careful to say that I changed everything I found.

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 am an immigrant in a sense. What happened was that my father was stationed in New York when my mother became pregnant, and she said, "I've got to go to Sweden so this child can be born there, because you don't have any idea where you're going to be transferred next."

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.

The thing about the ray gun is, you pick up anything you see on the street that's the shape of a gun.