My views have changed as much as the world, and more precisely, the world of art. You have to remember that all my criticisms of the institution were done directly from the world I was in and my analysis of it. Many things that I said about the omnipotence of the museums, for example, are today almost obsolete. In fact, the museum and the institution drastically lost their power by the pure fact that they disseminated by thousands around the world.

Contrary to Warhol's 15 minutes of fame, I think that today in front of insatiable curiosity of the crowd, we would be better off to remain secret as long as possible, work in the denser part of shadows.

Today it's not strange to see an artist 30 years old having her first retrospective! Different time, different speed. After having been the key point of recognition for an artist, the museum today is just another place to experiment and work, like we can do in any art fair. The king or queen of the moment is completely ignored and replaced by the new one a few years later. Contemporary novelty in art disappears faster than the seasonable changes of the fashion designs.

My overall approach toward art is to remain as open as possible in front of the world, to always be curious, not to be afraid to experiment, and have a sense of self-criticism and a general criticism toward the surrounding. Also, trying to make a difference between serious research and pure gag! And making as few compromises as possible toward doing things that might not be accepted by the majority of society, even if this dominant society is the one which is ruling the art world. To keep this fundamental idea, even if it's a bit trivial: to have the desire to transform the world.

During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.

I want to create work that extends beyond myself because I always thought it was a way to change the general rules about art, and also to give an impulse to something else. It's a transformation about attitude. Most of the time, when someone buys the object, it's 100 percent transferred to them. I don't think this is true. Something exists within the object that can never be appropriated. This little part, I try to make it visible.

My views have changed as much as the world, and more precisely, the world of art. You have to remember that all my criticisms of the institution were done directly from the world I was in and my analysis of it. Many things that I said about the omnipotence of the museums, for example, are today almost obsolete. In fact, the museum and the institution drastically lost their power by the pure fact that they disseminated by thousands around the world.