"At the time, people would generally talk about the birdhouses as formal jokes. People wouldn’t consider sublimation as an aspect of art production except in some heady, Freudian way, like, “Oh, these bad impulses are being nicely put into this object.” Instead of saying maybe it’s not so nice that these impulses are put into these objects. Maybe it’s pitiful that all these energies are pumped into a birdhouse. That’s what I realized I was going for, not some one-line joke like, “Here’s a birdhouse that’s minimalism.” Rather, here’s a structure that’s loaded with pathos, and you still don’t like it, you don’t feel sorry for it, you want to kick it. That’s what I wanted out of the thing—an artwork that you couldn’t raise, there was no way that you could make it better than it was. Its function as art actually makes it more uncomfortable."
Mike Kelley in John Miller’s “Mike Kelley,” excerpted in BOMB 38, Winter 1992. Source.