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.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

Art is one of the few places where you can put it in a constructive way where it won't burn you up inside or hurt anyone.

Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.

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.