Kinkade estimated that one of his paintings hung in every twenty homes in America. Yet the art world unanimously ignores or reviles him. Me included.

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.

All of Koons's best art - the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism, idealism, and fantasy.

The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.

Only an artist as preternaturally acute and copacetic, as oddly visionary and just odd as Richard Artschwager would be able to lay out the whole course of human evolution and have it make some kind of sense while also seeming like a dazzling insight.

To me, nothing in the art world is neutral. The idea of 'disinterest' strikes me as boring, dishonest, dubious, and uninteresting.

The last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world.