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.

The bourgeoisie are the only people who want to help me. The enlightened bourgeoisie are the only ones who ever buy anything, look after it, and don't ask for a discount. They want to look after you.

I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.

The biggest problem for my generation is that people who were born years before us have no concept of us at all. There's a massive gap. I don't know why, but we were really like orphans. Those people competed against us, they hated us and fought for things, and yet they had no interest in our work.

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.

No one born in the 1950s took much interest in my generation, and all we've done is try to fix it by talking to the people who came after us. I don't hang out with anyone who is 10 years older than I am, but I hang out with a lot of people who are 10 years younger.

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.