There's a moment of recognition. It's that white-light kind of stuff that just 'works.' I love that. And you know it when it happens, whether it's a movie, music, a building, a book.

I like suggesting that 'we are slaves to the objects around us,' that 'plenty should be enough,' or that the 'buyer should beware,' within the context of conventional selling space.

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.

There’s a moment of recognition. It’s that white-light kind of stuff that just “works.” I love that. And you know it when it happens, whether it’s a movie, music, a building, a book.

I just say I’m an artist who works with pictures and words.

What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.

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

I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.

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.

I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.