A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.

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

Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.

To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously.

Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.

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.