I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.

In the U.S., ironically, people work longer hours in the U.S. than they do in Europe or in any other industrialized country. They seem utterly oblivious to May Day, don't really know what it is - our own history.

When Allen Ginsberg was still alive, he was was an artist, but he was very local. He was just another wing-nut in the neighborhood and he was very accessible. You'd see him in Tompkins Square Park or in the local delicatessen, in one of the greasy spoon restaurants on First Avenue or a Chinese restaurant.

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.

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.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

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.