I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

It would be wrong to say that the city of Berlin is not regulated. What I think is more interesting is to what extent a city creates a sort of safe haven for its users, so that people feel confident that the city works on their behalf.

I don't think you need to be so result-oriented when you're trying to define the success of an art work. I think we can allow some unpredictability.

When museums are left with so little money that their future is in the hands of private donors, then they are unable to develop their own signatures by collecting themselves. On the other hand, though, I think we should also celebrate the fact that there is a lot of art that lives outside of, or on the outskirts of, the art market - and it is doing quite well.

I do not think making art alone makes it any better than making it with a team of people.

Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.

Artists are valuable to public discussion: They show the correlation between doing and thinking.