When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.

I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.

Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.

I try to, at least once or twice a week, have someone over and model, usually a dancer friend or a poet or someone to come over and just stay still for me. Depending on how exhibitionist they are, it will determine the finished work. And I say, "You're the muse; you come up with it. I'll draw you however you want."

We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.

Let me see: art and activism. I can always fall back on, "the question should be, what isn't political? Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly." I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.

Working people are working even longer hours, even though we won the eight-hour workday at the Haymarket General Strike in Chicago.