I tried to stay out of the photography world for a very long time, because I didn’t feel comfortable there. This discipline stuff is really boring. You would never see a group show about acrylic paint, because that’s not what it is about, it is about images and what’s in them and how you contextualize them—that’s much more interesting for me. So, with that argument, I always said no to all these “Is it real?” shows, and, you know, “Photographs from Germany,” “Photographs After 1945,” and anything like that. But Ute Eskildsen, who is a fantastic curator in Germany, told me one day: “Look, the whole photography world tries to get away from that ghetto anyways, so if you say no, you are the one who perpetuates it.” And that made so much sense. So in the end, at some point it becomes stupid to say, “I don’t want to have anything to do with you.” You can do things with it, it’s actually an empty vessel, and people seem to be interested in that vessel, so you can play with it as well.