John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.

There's something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.

Ofili is still a champion. It would be a huge mistake to think otherwise.

'The Panorama' is also the last place anywhere in New York where the World Trade Center still stands, whole, as it stood in the early morning of September 11. I can also see the corner where I saw the first tower fall and howled out loud. Seeing the buildings again here is uplifting, healing.

The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.

The reason I love blogs so much right now is that I am seeing more critical voices appear, and that's kind of thrilling. I think a lot of critics in their forties or even their thirties have had their voice scared or trained out of them by the academy. I have nothing against the academy. I think it's brilliant and fantastic, but I also think that it's become almost monolithic. The same way a lot of art looks the same, a lot of writing can sound the same and quotes the same theorists.