The problem with prostitution in my experience is that it's often unsatisfying.

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

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.

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

I think so much of art is unconscious anyway, the artist doesn't know the real reason they're doing it. They're just kind of going along with it intuitively.

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.

Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.