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.

[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.

What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.

Public space can be a lot better with some private space to contradict it and vice versa. It keeps the system alive. If the system is just one thing, then it's closed and it eventually dies.

It's not the bullet that kills you, it's the hole.

Maybe I had to stop photographing so that I could learn to touch.

Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something.