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 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.

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'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.

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

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

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