I can pick out people in this city to follow. I can be in a show at the Museum of Modern Art, my space in the Museum of Modern Art is my mailbox, my mail is delivered there. Whenever I want mail, I have to go through this city to get my mail.

I'm using my own person in pieces, but I'm trying to turn my person into a nonperson in the sense of a person without will, without volition. I'm subjecting myself to a scheme.

Sustainability has become a religion in architecture - not that there's anything wrong with it - but I think it has to work both ways. Everyone thinks architecture has to be subservient to sustainability, but what if we thought in the other direction, like, what can sustainability do to make architecture more exciting?

As a kid I learned notions of art and notions of not having any money.

The great thing about the Guggenheim is that you can see art in the fastest way if you want to. Which isn't bad. It's almost like Frank Lloyd Wright didn't know something called the Internet was going to exist, so he made it so you can go down as fast as possible.

I like Richard Serra sculptures too but I wish they had a goddamn hot dog stand inside.

[My early performance work] started by being the activity of a person, any person, like any other - but once that person became photographed it became a specialized person, the object of a personality cult.