Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.

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.

Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.

Those who love him love that he sells the most art; they take it as a point of faith that this proves Kinkade is the best. But his fans don't only rely on this supply-and-demand justification. They go back to values.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

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.

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.