I've been trolled lots on Twitter. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.

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.

Twitter is not art. But it inspires me in the way that art used to inspire me. Art used to make me see the world differently, think about things in a new way - it rarely does that for me anymore, but technology does that for me on a daily basis.

Most artists want first and foremost to be loved, secondly to make history, and money is a distant third or fourth.

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

I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.

The best thing about conceptual poetry is that it doesn’t need to be read. You don’t have to read it. As a matter of fact, you can write books, and you don’t even have to read them. My books, for example, are unreadable. All you need to know is the concept behind them. Here’s every word I spoke for a week. Here’s a year’s worth of weather reports... and without ever having to read these things, you understand them.