The poster art over the years, art with social critique in it, has always been on class war theme. It's been trying to make that point - that we are larger than they are. They may have guns and pepper spray and helicopters and F16s and the whole U.S. military on their side, but when it comes down to it, we still have the numbers.

Art grabs people by their eyeballs, it seduces them ... 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.

The Street is as large as consciousness itself. So, when creating art for the street, be mindful of where the public's head is at these days. Give the public a real alternative to the strict diet of celebrity gossip, religion, and un-reality television.

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.

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.

We all know what tragedy is. "Yes, I'd rather not have any more tragedy, please. I'll have comedy, please." Comedy, in the Greek sense, only means that it has a happy ending.