So it's a bit of a struggle
but the thing is I have to move fast to get things done
and at the moment many things were getting done everywhere.
?

And I'm very happy I work with just two architects.
I have no one I'm working with in New York
but there's one architect who lives in Berlin, he does my scandinavian and my german and he's been to a spanish thing and I have one architect who lives in Antwerp
but actually I'm putting them together now for the YYY Botanical Garden.
And what I do with my architects, I give them tickets to come to New York and then we look at architecture.
I had a car trip through the middle west of America three years ago with my antwerpian architect and his girlfriend
so the other thing is, we have a lot of fun together.
?

And after, how are you working together with them?

No, we just work at architecture together.
And I think anybody of this architects, they are happy to work with me as an artist, because their own job is a little bit boring.
?

When I was bringing the subject of the paradox of the artists that stop making art, I was also thinking about your case as an interdisciplinary artist that is doing architectural pieces and writings about art but defining it as art, I mean, how do you do that, how do you characterize theoretical writings about art as art?

I don't believe it's art. Look, this is what Jeff Wall said, and I totally disagree with what Jeff said. I don't do ready mades, I hate Duchamp. That article was total garbage, I totally disagree with it. No, I was writing because I always wanted to be a writer. And actually I like magazines, and my first articles on Rock’n’Roll were because my hero was Leslie Fiedler, he's a literate critic and the best writers were Rock’n’Roll -writers. I don't believe my articles have anything to do with art.
?

Jeff Wall's work is victorian sentimentalism.
?

And this whole Duchampian thing: I hated Duchamp!
No, in New York we all liked Russian constructivism. And Duchamp was really disliked by everybody.
?

See, Rosalind Krauss and Benjamin Buchloh are so wrong in what they write, we absolutely hated Duchamp. And Benjamin Buchloh sees 'Homes of America' very incorrectly.
It's a fake greenYYY parody of what you see in big YYYmagazines like YYY and it's also like a kind of poetry.
I think it's more like Flaubert than anything.
?

I think the issue of what's art and what isn't art is not an issue.
But I think, since my work is always a hybrid I don't really worry about the problem what art is. I thought for many years that I was a writer, that I was doing poetry. In fact I met Vito Acconci who was a poet and pushed him in to art. I had an article called "subject matter" which was about Bruce Naumann, Steve Reich and performance which was turned out to art forum and I gave it to Vito to read. Actually I've done a couple of new articles,
I wrote about Darcy Lange, the video artist, I wrote with Nicolás Guagnini on John Miller and I continued with my article "museum as garden garden as museum" with a new section on Münster, documenta and all the work that was done in France in the 80's with all the regional YYYs and gardens and châteaux.
And I think you write to influence people, to write about other artists, to influence people 'bout ideas, and they're not theory or criticism. I don't believe in this idea of theory.
?

After these whole years of a practising artist, is there one wish or, I don't know, something, if you could realize everything, is there something left you dream of to come out with, or do you have the feeling like: yeah, you have done something, and like being satisfied...

No, no, my desire is to be in the very big shows where I can entertain people and also undermine the ideas. What I like about documenta is, there is always a theme, it's sociological, serious and I like the idea of using it and kind of having fun with it.
?

But do you have the feeling, like that you’re the elder or older generation, and new artists go to documenta and do everything?

No, what I really like is an interesting context.
?

Yeah, that's right I generate my work from a context very much.
?

And do you think your context has changed, since you work on urban space and questions of public space and privacy and inner and outside space, and you're doing it really for a great time...

I think it's the audience.
you see: in universities you have a lot of single mothers, so it's designed for the single mothers and also the grand parents who have fun with going to a library in a university, so that's a social context, not a sociological context, and that was very important for me.
Also since the Munster piece many years ago, I tried to design things that are fun houses for children and photo-opportunities for parents.
?