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.

Think of an abstract painting as very, very low relief - a thing, not a picture.

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.

While a large segment of the art world has obsessed over a tiny number of stars and their prices, an aesthetic shift has been occurring. It's not a movement - movements are more sure of themselves. It's a change of mood or expectation, a desire for art to be more than showy effects, big numbers, and gamesmanship.

Damien Hirst is the Elvis of the English art world, its ayatollah, deliverer, and big-thinking entrepreneurial potty-mouthed prophet and front man. Hirst synthesizes punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, and Catholicism.

All art comes from other art, and all immigrants come from other places.

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.