People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.

People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.

As an artist, it's been clear that the price of art has nothing to do with you, it has to do with an idea of what the market will tolerate.

Lying on top of a building, the clouds looked no nearer than when I was lying on the street.

I'm operating in the gap between the trajectory of modernity and the trajectory of modernism. So what people think is design is not design, it's my attempt to engage with the trajectory of modernity.

What people in the U.S. have to understand is that there is sometimes a deep political content in my work that's rooted in the postwar reconfiguration in Europe. I'm still a foreigner in America. I'm someone who's bringing nuanced stories from somewhere else that will always be harder to take.

I think when people struggle with the problem of trying to understand the art world as an idea, they misunderstand it. They think it's a world of visionaries or opportunists. But it also includes people who want to take part in this cultural exercise but don't have the required stuff, they don't have the ideas or the production.