'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.

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.

Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.

Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.

After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.

Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.

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.