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

The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.

Art is good, bad, boring, ugly, useful to us or not.

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.

I don't know much about auctions. I sometimes go to previews and see art sardined into ugly rooms. I've gawked at the gaudy prices, and gaped at well-clad crowds of happy white people conspicuously spending hundreds of millions of dollars.

Make an enemy of jealousy and envy. As fast and soon as you can…. The art world is high school with money.

In 1998, Artnet was the site that convinced me that if my writing didn't exist online, it didn't exist at all. It showed me criticism's future.