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 don't design. I don't paint. I absolutely never touch my works.

My ideas are all the same but look different.

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.

I tend not to work with a specific person in mind. Art is a matter of statistics. It's not about individuals. It's about people.

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.

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.