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

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.

The U.S. has always been a contradiction. It's always been a deeply protectionist, institutional place, where you're not allowed to smoke, and you're not allowed to do this, and you're not allowed to do that. And then, on the other hand, it's completely libertarian in a way. So it's got this weird mixture of being incredibly authoritarian and incredibly open at the same time.

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.

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.