When Allen Ginsberg was still alive, he was was an artist, but he was very local. He was just another wing-nut in the neighborhood and he was very accessible. You'd see him in Tompkins Square Park or in the local delicatessen, in one of the greasy spoon restaurants on First Avenue or a Chinese restaurant.

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%.

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.

I find it very difficult to be funny, it's much easier to do tragedy than it is to do comedy.

Art grabs people by their eyeballs, it seduces them. Especially if the picture is very beautiful or very sexy or just really weird, if it has some surreal element in it.

The poster art over the years, art with social critique in it, has always been on class war theme. It's been trying to make that point - that we are larger than they are. They may have guns and pepper spray and helicopters and F16s and the whole U.S. military on their side, but when it comes down to it, we still have the numbers.

Everything you do is political, even if it's abstract. You're making a political statement even if it's unwittingly.