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.

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.

The poster art over the years, art with social critique in it, has always been trying to make that point - that we are larger than they are.

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.

Street art is about as religious as I get - that's my faith, that even if people screen it out and didn't think they saw it, they did. Even if it was for a split second, it's become part of them and it's affecting them somehow.

Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.

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