You’ve had your work banned. Do you feel a sense of accomplishment from that, almost like it’s working as intended on some level?
Yeah, I mean, I tend to focus on the people who were inspired by it—people in housing projects who don’t, let’s be honest, don’t much think about contemporary art works by undergraduate art students or standing in line to see the work. [In 1989] America was becoming more militaristic, and it wasn’t quite the War on Terror, but they were starting to invade more countries and bomb more countries. People were starting to have more questions about that, so I think those are the people I’m mostly focused on, and the fact that the rulers of the country didn’t like this work and went to the extraordinary length of banning it says a lot about the power of art and the frugalness of this system.
