When people come to the space, they could bring a whole load of work—they could even bring their whole studio if they really wanted to stop. It doesn't matter why people want to get involved; it's completely on their own terms. I hope it attracts people who are intrigued by the spectacle of it, and I hope it attracts all different kinds of art. We will exhibit everything in the galleries, and then it will just pile up and pile up. We will hang stuff and stack stuff, and the idea is that people will look through it, think about it, and just enjoy it. In a way, it's a free service for people to clear out their dodgy artworks, but it's also an opportunity to make something outside of the art market.

We are trying to make an exhibition that's a picture of the arts in all sorts of ways: kids making stuff, people inheriting stuff, young pretenders trying to make stuff, people going out of fashion and working out what they're going to do. It's meant to be a look at the whole thing. In art and in politics, people get power by saying, "My gang is cooler than your gang." This is saying, "No, let's look at the whole thing, and try and celebrate it all, but also look at it critically." By getting rid of the career progression and the quality control, you get to look at the anthropological act of making work and what it means to consider yourself an artist in a place like New York.

Failure only really happens in the mind of the person who thinks that he or she has failed, but it dominates. We all think we ought to be a bit more successful than we are; it's one of the most pernicious things human beings are burdened by. This project is pointing at that mindset as a phenomenon and thinking, "Don't get burdened by it." It's giving people the opportunity to move on and make some really great stuff. At the moment in London, I've been clearing out my studio, and I can tell you it's a really good thing to do.