If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.

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.

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.

John Baldessari, the 79-year-old conceptualist, has spent more than four decades making laconic, ironic conceptual art-about-art, both good and bad.

Although I adore the Italian High Renaissance, I'd rather look at Mannerism. The former is ordered, integrated, otherworldly, and grandiose; it leaves you feeling hungry for something flawed and of-the-flesh.

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.

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.