It’s special to me because it captures—theatrically—a moment. Paintings can do that to a certain degree, but it’s not capturing the real “thing,” the real subject in the actual moment. To me, photography is more about the subject and less about the artist. In the ’90s, people like me and Nan Goldin and our friends and colleagues arrived at the idea of the snapshot as a personal statement. By 1995, everyone’s snapshots looked great—and they were great—but I also started thinking that they could do more, and that a documentary statement could be a personal statement too, and I think photography makes it possible to sort of play with that idea more than other forms. All that’s come full circle now with Instagram anyway.