In the ever growing conservative political scene in the Netherlands, the ADM is a reminder of the freedom and chaos that Amsterdam must have once been. It gives me my dose of dirty grittiness, something which is miss in this city in constant renovation and gentrification. Evolving around a main building on an industrial shipyard on the outskirts of town, it's an area where modern gypsies, anarchists, artists and free thinkers build their houses, park their caravans or dock their house boats. It's not entirely my scene, but I am happy to know that it's there. And they throw some amazing festivals!

It's a very small museum in the Hermitage about art made by outsiders. It's also known as 'Art Brut', a name given to it in 1972 by French artist Jean Dubuffet. It simply means that it is art made by people that don't fit in the normal life structure that humans suppose to have. Which can mean that the art is made by people who are in jail, who are ill, have a mental dissability or another way of not fitting into the community. The exhibitions are quite small, so it takes you just around an hour. And the hermitage has a nice canal view.

The fence around De Nederlandsche Bank on the Frederiksplein is a true optical experience. While passing the building, a rhythmic, dynamic pattern appears and disappears in the trellis of the fence. The figures on the sides of the rails were designed in 1992 by artist Peter Struycken, a pioneer in the area of environmental art and generating computer-program based image, light and colour compositions.

At the end of tramline 7 and 14 there is a huge bridge on concrete pillars. These pillars are one of the few places in Amsterdam where it’s legal to spray graffiti. My work is very much influenced by graffiti, so I love to come here and see what’s going on. It’s a very dynamic place, so one day it can be awful and the next day amazing but it’s never boring.

A few years ago I had a conversation with a staff member from Uytenhaak Architects about concealed texts in Amsterdam, relating to my own work ‘stoned forever’, which is integrated in brickwork in the Olympic Quarter. He said that there is a text in Morse code incorporated into the Droogbak (1989), a residential building by Uytenhaak: ‘Deze muur staat er niet’ (‘This wall isn’t here’). It is located close to the railway line. Rudy Uytenhaak later told me that this was his last opportunity to protest against the acoustic fence that had to be constructed for bureaucratic reasons.