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.

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.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

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.

Street posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.

Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.

Art is one of the few places where you can put it in a constructive way where it won't burn you up inside or hurt anyone.