Poster art was always my way of being involved in the conversation. So it wasn't just a one-way conversation with the police yelling at us or freaking us out. Street posters allowed you to have the last word.

I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.

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%.

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.

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.

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.

In the U.S., ironically, people work longer hours in the U.S. than they do in Europe or in any other industrialized country. They seem utterly oblivious to May Day, don't really know what it is - our own history.