I'm criticizing the way they are perceived. I was going through a book of Marina Abramovic and Ulay's 1970s performance work the other day. These people did two, even three Documentas or Venice Biennales over the course of a decade without any fuss. They would just treat it as any of their other engagements, with the same level of dignity and commitment they'd reserve for a one-day event in a small gallery on the Austrian mountains.

The market is like a machine that needs to be constantly excited. It needs to constantly produce wealth and more excitement. There are some leading players who are always there before everyone else, and they set market trends, they make people safe about the excitement. Of course, those who buy it first are the first to drop it. It's an ongoing game.

It's in our nature. If you are a plumber, there is an objective way to establish whether you put together a great piping system or not. Art is a bit more slippery than that. So, when you fill a gallery with dirt and someone comes along waving wads of bills, it's difficult not to take them because they become a tangible acknowledgement that what you've been doing actually makes sense.

Part of the blame can be put at the artists' door, too - no question. But I see our involvement more as a consequence. When there is too much money at stake, the whole system gets corrupted. Artists can be very vulnerable to these mechanisms.

I don't think that the big crunch should be seen as a menace, but rather as an opportunity. It's one of these times in -history - and we have plenty of examples from the past - where it's possible to really make a difference. And if art is serious about claiming a central role in today's society and culture, this is the best chance it's had in ages.

I was a loser, most concerned with making a living. It took me 30 years to understand... I had to reinvent a system, find a way out, and set some rules that could work for me and a few others. I guess in the end that's what we all are trying to do.

The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.