I hate studio. For me, studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution.

I always do big birthday things. In three years, I'm 70. I'm going to do something outrageous. In America, everyone's always hiding their age.

I made a tape recording of a bridge collapsing and I wanted to play it suddenly and very loudly when people were walking over a big bridge in Belgrade. The council forbid it. Their imagination is tiny; mine is big. I want always to shake everything up.

I had to leave some traces. In the beginning, I would give complete instructions to the photographer. In the '70s, people would come to photograph your work and you would just end up with this crazy material that had nothing to do with your work; maybe I'd pick up two or three photographs that were the closest to the idea. This is why when you look at the '70s, you see much less documentation and really bad material. The material will become misleading to what the piece was.

Most artists create foundations where they put their own work. Here I'm not putting my own work. I'm just creating the chambers.

When I did "Seven Easy Pieces," I actually re-performed the performances of other artists. It was such difficult work because I had to really go through the documentation, look through the sources, to ask the witnesses who saw it.

Even now, I have traces of the good little girl. When I am not performing, for instance, I am really very quiet and ordinary.