I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.

The client isn't quite satisfied and then the prostitute is always unsatisfied but is doing it just to make ends meet. And if you're doing fine art, if you're doing it for a gallery or a museum, it's so sterilized. It's such an antiseptic environment.

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.

The poster art over the years, art with social critique in it, has always been trying to make that point - that we are larger than they are.

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.

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 artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.