The Street is as large as consciousness itself. So, when creating art for the street, be mindful of where the public's head is at these days. Give the public a real alternative to the strict diet of celebrity gossip, religion, and un-reality television.

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.

People don't work in factories, [they aren't] big muscular guys. The working class is flabby because they're sitting in front of a computer all day, but it's still their labor being extracted.

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

Americans didn't really have any experience with something as basic as "community."

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

The art was just a way of hooking people in, saying: "Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out." And I think all of my art has really developed out of that realization.