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

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.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

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.

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.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

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.