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 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 younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.

We used to call the 1% the ruling class, but America's never felt comfortable using that terminology. It was taboo to talk about class war. Americans are okay talking about it like this; everyone wants to be part of the 99%, even the cops are like, "No, no, man. I'm part of the 99% too." No one wants to be part of the 1%.

Whether it's a street poster on a brick wall, a magazine cover on a newsstand, or animation on a movie screen - art is an effective means of communicating with large numbers of people.

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.

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.