A lot of the stuff I've done is inspired by the location. Usually my works are pretty site-specific. There are a lot of shows that are older works, but often when I do new work for a show, it tends to talk to the space or the idea of the museum.

I really love country music, just this idea of three chords and the truth.

The best trick I learned was when a priest came to me when I was an altar boy and said, "Always, when you make a mistake, pretend it's ritual." It's beautiful!

I think my favorite Rolling Stones song is "No Expectations." I always think and talk through songs.

What draws me to theater and religion are these rituals made to make you feel emotion. It's so banal in an interesting way. In visual art it's about making you feel emotional, but it's more subtle.

I was very prejudiced when I started arts school. I, like all of those kids, was like, "I don't like this modern stuff." I came to arts school with a very stupid, conservative set of ideas about art.

I had a total revelation with the feminist moment, with Carolee Scheeman and Marina Abromovic and of course Joan Jonas; that was a big breakthrough with me. And through them, I was introduced to Chris Burden and Bruce Nauman and Vito Acconci. You can almost call it a gang, because the works are always talking together. That stuff had a huge impact on me, but other than that, my interest had always been old paintings.