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 had, over the years, collected things, small things, as people do, and I had put them all together and showed them in what became a building in the form of the Geometric Mouse.

Andy [Warhol] was on the scene, but he wasn't an artist at first; he was more an illustrator. He was always surrounded by about ten people who worshipped him. He'd go to a party and they would all come along. But he was drawing shoes and that sort of thing.

Judson Church was a very important place because they believed in art. They also took care of drug addicts. Without the Judson, nothing could have happened.

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 sexual is part of everything, and it's highly formalized. I hadn't done figure for a long time. And I thought to myself, "Why not the erotic figure?"

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.