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.

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.

The unusual thing about doing street poster art - or something with a conscious social critique in it - is that the artist thinks they're a little in control, focusing and trying to make a specific point. But even then, when you look at it a few years later, you realize you were just working through some of the usual feelings you were going through during that time.

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.

By the time I was in my early-twenties and was living there on the Lower East Side, I was so surrounded by tragedy that I think that inspired me to try to reflect it in the artwork.

There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.

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.