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Making art in America is sort of a political statement in and of itself. It's not the best environment for that sometimes.

When we decided to go to Cuba to perform, we did it because we just wanted to build a bridge, you know, between Cuba and the rest of the community. And we just wanted to prove that music and art need to be over all ideology or way to think life, and we just wanted to go in there and play just because of love.

What the art world has done, it has been constantly been pushing the boundaries about what art can be. It's like expanding its territory.

Personally, what I would like the most is to work on a project that would aid the historic rehabilitation of Havana. It's a shame - and it gives me tremendous sadness - to see the precious buildings, to see a city, which could be the most beautiful in Latin America, falling apart and with very little money for renovations.

The goal of art-making in general is communication.

I think there is a debate in the arts about, you know, whether we must strive for art for art's sake, and you know, kind of try to keep political debate out of our work. And to that I say, I'd like you to show me an example of, you know, this so-called apolitical art. I don't think there's any such thing.

Art has often been and continues to be considered transcendent. I see this as misguided and, in fact, a way of subverting the powerful voice art can be in global discussions about politics, economics, society, culture, religion and international relations.

Art is essentially communication. It doesn't exist in a vacuum. That's why people make art, so other people can relate to it.

So at a time in which the media give the public everything it wants and desires, maybe art should adopt a much more aggressive attitude towards the public. I myself am very much inclined to take this position.

Any form of art is political if you make it that way.