“If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.”

I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.

But I really resist categories – that naming is a closing down of meaning. Women’s art, political art – those categorisations perpetuate a certain kind of marginality which I’m resistant to. But I absolutely define myself as a feminist.

GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU’LL BE A THOUSAND TIMES BETTER OFF.

There are so many moments and works that influence us in what we do. Movies, music, TV and, most importantly, the profound everydayness of our lives.

Fashion is everywhere and about everything. It is folly, vanity and the fun of it all. It is disguise, innuendo, and cunning. It is mean, gorgeous and ambitious, and definitely the last word for the next few seconds.

I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.

I think pictures and words have the power to make us rich or poor.

If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.

I worked with someone else’s photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn’t that be my art?

It’s hard for me to understand how working-class people support themselves.

Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.

You want it, you buy it, you forget it.

The reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.

Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.

I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.

What I’m trying to do is create moments of recognition.

But this is the great danger America faces. That we will cease to be one nation and become instead a collection of interest groups: city against suburb, region against region, individual against individual. Each seeking to satisfy private wants.

Our children need to be able to see us take a stand for a value and against injustices, be those values and injustices in the family room, the boardroom, the classroom, or on the city streets.

The City. Can’t you hear it? People. Machines. Even thoughts so thick your bones feel it and your ear almost catches it.

If you have a statue in the city centre you could go past it every day on your way to school and never even notice it, right. But as soon as someone puts a traffic cone on its head, you’ve made your own sculpture.

The country is the world of the soul, the city is the world of bodies.

If you don’t own a train company then you go and paint on one instead… it all comes from that thing at school when you had to have name tags in the back of something… that makes it belong to you. You can own half the city by scribbling your name over it.

Bend your minds and wills to the education of the peoples and kindreds of the earth, that haply the dissensions that divide it may, through the power of the Most Great Name, be blotted out from its face, and all mankind become the upholders of one Order, and the inhabitants of one City.

If you have a statue in the city centre you could go past it every day on your way to school and never even notice it, right. But as soon as someone puts a traffic cone on its head, you’ve made your own sculpture.