As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.

You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.

What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.

I have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.

Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.

Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.

As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.