Even though everybody who looked at me would call me a Chinese artist, that's the 1980s. New York in the '80s was not so interesting. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.
Just look at the statistics: Each university has tens of thousands of applications for students who want to be in art school, but they can only accept a few hundred.
China seems unpredictable because it has a distinct culture and social system. It is still a mystery to other parts of the world, even though the veil of China has been lifted many times as a result of globalization.
If I walk on the street, if I go to a restaurant, people come to me and say: "Can we take a photo together? Can you give me your autograph?" They would bring their expensive Armani or Prada wallet to sign. Other people who are desperate show me a photo of their dead daughter and ask: Can you support me? I tell them: How can I? Morally, of course, I sympathize with you. But I cannot support you and you cannot support me. This is the condition of this society. We are separated.
I think I'm just a traveler. When you walk across a river and there's no bridge, you build one. I'm used to having to deal with Chinese Communist ideology - it's not really an ideology, but a method of control. But China's problems are not just China's problems - they're human problems. Humanity has always worked better when you see it as one.
A society is healthy only when it allows its members to discuss their thoughts openly. This is also the only way that a society can gather consensus, let everyone express his or her wish, and foster creativity.