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

[Some people] put their work on the internet and check every day how many people look, how many people made contact, but I don't have internet, I don't have a hand-phone, I don't have fax, I don't have email. I just have old-fashioned telephone and letters.

In the exhibition at Galerie Perrotin, they have the Sarajevo painting - I think it's very good to nail down this story of Pol Pot and other people, not all dictators but most of them.

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

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."

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

I lived on Fulton Street in an enormous studio - I needed a bicycle to get to the toilet, about half a mile between two streets - next to Wall Street.