Infiltrating the mainstream was a natural extension of my street art. I've always tried to communicate ideas to the public as directly as possible.

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.

As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.

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%.

I'm accustomed to just working by myself, alone in the room and cranking up the music and just working and getting all into an obsessive state where I'm focused on this thing, and it's the one thing that I feel like I may have a little bit of control over in my life.

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.

The problem with prostitution in my experience is that it's often unsatisfying.