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.

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.

If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.

Doing art that has a happy ending, that doesn't seem really corny, is extremely difficult to pull off convincingly.

Americans didn't really have any experience with something as basic as "community."

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.

Infiltrating the mainstream was a natural extension of my street art. I've always tried to communicate ideas to the public as directly as possible.