There's so much tragedy in people that we see every day that we don't have to make anything up. We don't have to invent anything. There are two items on the menu: comedy and tragedy.

I think for an artist there are so many things to make pictures of now, that everyone else may be suffering, but at least artists will just be stimulated by it all.

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

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.

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.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

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%.