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.

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

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.

I find it very difficult to be funny, it's much easier to do tragedy than it is to do comedy.

With what we've been taught is the proper role of art, which is that you want to have it very neatly matted and framed and put on a white wall in some room where only a certain class of people are going to go in.

If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.

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