I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

For me, Twitter is a public persona. I don't interact. It's a lousy form for conversation and opinion, but a wonderful propaganda and sloganeering tool. I use it as a one-way street.

If you work on something a little bit every day, you end up with something that is massive.

New York City is just one node on the global cultural scene. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist feels local and small. Social media feels now.

I think that writers often try too hard in the name of expression, when often it's just a matter of reframing what's around you or republishing a preexisting text into a new environment that makes for a successful work.

Automation and technology don't cure behavioral ruts: they just create new instances of them.