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The idea is to bring art to people who might never really interact with it. It's for all citizens, and it's about making the city more interesting and more visually significant.

For the general public, my work is sometimes easier than a painting because there is someone addressing you; it can actually be a relief. What's interesting is the idea of a tourist randomly coming in and the experience they'll have.

When you walk down the street and see something in a crazy spot, there's something powerful about that. The street will always be an important part of getting art out there for me.

I love art, being so close to the galleries, being by the water - and sunsets from the terrace.

In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.

Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.

I like all sorts of art, that's why I love wandering around The National Gallery.

The city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.

Painting keeps me occupied in those moments when travel can be aimless and even disorienting. Mainly it is a way to register at least some of the new impressions of a foreign place, when its thrilling barrage can sometimes overwhelm you.

I always like to see if the art across the street is better than mine.