Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.

The art was just a way of hooking people in, saying: "Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out." And I think all of my art has really developed out of that realization.

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.

Doing art that has a happy ending, that doesn't seem really corny, is extremely difficult to pull off convincingly.

The trick is not to look back, but keep on expressing where I'm at now. It's challenging to create something new, so it's crucial to dwell in the present moment.

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

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.