The debut show, “Second Lives: Remixing the Ordinary,” is supposed to be about how artists reuse humble or unusual materials. There’s good work here, but much of what’s on view is actually more about obsession and repetition: a couch made out of 3,500 quarters, a necklace composed of 100 handgun triggers. The building, too, seems caught between wanting to be an object of decorative delectation and making an architectural statement.

Our culture now wonderfully, alchemically transforms images and history into artistic material. The possibilities seem endless and wide open.

Many things happened in the sixties, but the period is no more significant, better, or more 'political' than today. It's time to turn the page.

When art wins, everyone wins.

When I criticize Joseph Beuys or Francis Bacon, nobody calls those opinions anti-male. Putting female artists or their subject matter off-limits is itself sexist and limiting.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.