Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest, best, or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).

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.

Artschwager's art always involves looking closely at surfaces, questions what an object is, wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.

I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.

Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.

Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest, best, or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).

A canon is antithetical to everything the New York art world has been about for the past 40 years, during which we went from being the center of the art world to being one of many centers.