All my art is in some way about other art, even if the other art is cartoons.

We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.

I'd always wanted to know the difference between a mark that was art and one that wasn't.

I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn't what I was interested in. All of it had an impact - as did happenings - because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn't the direction I really wanted to go.

Outside is the world; it's there. Pop Art looks out into the world.

Im interested in what would normally be considered the worst aspects of commercial art. I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.

I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.