I think an artist has the potential to investigate both form and content within one activity, to show that there can be coherence between form and values in our society, as in thinking about a city and building one.

I see the artist as a participant, a co-producer of reality.

There are 1.3 billion people today who have no access to electricity. Many of them rely on kerosene lanterns for light, but kerosene is both expensive and hazardous to the health.

When museums are left with so little money that their future is in the hands of private donors, then they are unable to develop their own signatures by collecting themselves. On the other hand, though, I think we should also celebrate the fact that there is a lot of art that lives outside of, or on the outskirts of, the art market - and it is doing quite well.

I don't think you need to be so result-oriented when you're trying to define the success of an art work. I think we can allow some unpredictability.

I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

I am not opposed to the art market. I have lots of friends who are collectors. But the whole idea of the art market is complex. Sadly we have a situation where auction houses and secondary market dealers are creating a lot of confusion and unnecessary pollution.