People don't work in factories, [they aren't] big muscular guys. The working class is flabby because they're sitting in front of a computer all day, but it's still their labor being extracted.

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 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.

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.

Everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.

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.

Art grabs people by their eyeballs, it seduces them. Especially if the picture is very beautiful or very sexy or just really weird, if it has some surreal element in it.