I have a problem with being a hero, but that's another problem.

First of all, to do performance art, you really have to give 100 percent. I only know that I have to give 100 percent and then what happens, happens.

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.

The only way to change consciousness and the world around us is to start with yourself.

My grandmother, when she looked at American movies, she said, 'They're all the same. In the first scene somebody shoots somebody and then everybody makes phone calls.'

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.

I think if people raise their consciousness and find a purpose, everybody will be helped.