I've always said that an art critic can put aside politics around art.

Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly, decisively, for good.

A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

When the purse strings tighten up at museums, the institutions usually cut back and cancel shows. That's exactly the wrong reaction. In fact, now is a good time for them to loosen up - a chance to breathe and experiment a little - and go for the juicy solution lurking in their own basements.

Money is something that can be measured; art is not. It's all subjective.

Nearly a half-century on from feminism, simply being a woman artist is still a revolutionary act. And getting one's work shown continues to be met by enormous inbuilt resistance.

I just want to say one thing about the '70s. Enough with this purer, "It was a better time," business. Every time is about as polluted and needy and beautiful as most other times. I was around in the '70s, and people were just as ambitious and envious and filled with need and desire as they are today.