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.

Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.

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.

We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.

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.

Art is one of the few ways we have of dealing with things that frighten or anger us.

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.