“I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.”

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.

I think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.

The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.

Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.

It’s good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can’t be personalized.

The different aspects of my activity, whether it’s writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don’t make any separation in terms of those practices.