Every five, six, seven, eight, 10 years I do a raisonné. When it's printed in the book, it's finished.

I have very warm memories about New York, about the old times, mostly the '60s.

I'd love to be considered a post-pop artist, but I love to have five or six different styles in every painting, just for the pleasure of the eye.

The collages I never wanted to sell. I thought it was a very private thing, so I kept the collages. Then, in the end, I had a big collage in the Pinault Collection in Venice and the director of the [Centre] Pompidou said, "Did you make big collages like this in the '60s?" I said yes, so he came to the studio and said, "Let's make an exhibition in the Pompidou."

I have been very lucky, I have won prizes and I've even won the lottery.

There was so much going on. I remember a very interesting dinner in the studio of [Robert] Rauschenberg. He had convinced Sidney Janis, Leo Castelli, and a third big gallery man to serve us, the artists, at the table. So they were dressed up as waiters, we were sitting at the table, and they were only allowed to sit down at the end of the table for the cognac. This is not possible now.

I work on a political subject quite often, and the paintings, for me, are not finished until they're printed.