Art usually only makes the news in America when the subject is money.

It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.

To me, the building [of Museum of Arts and Design]now looks like a lovely jewel box, and the tiled façade reminds me of a heat shield.

Giant group events are distorting organisms: You can like and hate them in rapid succession.

John Currin's exaggerated realism and his twisted women kept me off balance, never knowing if they were sincere or ironic or some new emotion.

Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.

Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.