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.

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.

The art world is an all-volunteer force. No one has to be here if he or she doesn't want to be, and we should be associating with anyone we want to.

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.

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.

'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.

There's a lot of hate mail from readers. There's hate mail, threats, stalkers... I think that I'm bulletproof every week when I've turned something in. I think, I'm a god.