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.

Don’t go to a museum with a destination. Museums are wormholes to other worlds. There are ecstasy machines. Follow your eyes to wherever they lead you, stop, get very quiet, and the world should begin to change for you. And if you see me, say something! We can talk about it together.

One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.

Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.

Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.

Ofili is still a champion. It would be a huge mistake to think otherwise.

I have never really cooked, don't know how to use my dishwasher, and subsist mainly on prepared deli takeout. I don't even eat in restaurants much.