Working people are working even longer hours, even though we won the eight-hour workday at the Haymarket General Strike in Chicago.

Street art is about as religious as I get - that's my faith, that even if people screen it out and didn't think they saw it, they did. Even if it was for a split second, it's become part of them and it's affecting them somehow.

Most visual artists, just like most writers, tend to be solitary. While they're doing the art, that is. They may have a crazy orgy that morning, but at a certain point they kick everybody out, and say: "Come, go home. Yeah, I had a great time too." And then you're alone again, and then you're freshly inspired and energized.

If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.

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.

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

We all know what tragedy is. "Yes, I'd rather not have any more tragedy, please. I'll have comedy, please." Comedy, in the Greek sense, only means that it has a happy ending.