'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

Nearly a half-century on from feminism, simply being a woman artist is still a revolutionary act. And getting one's work shown continues to be met by enormous inbuilt resistance.

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.

I don't plan out my visits rigorously, but I do have a list of about 125 New York galleries, alternative spaces, museums, and so forth that I visit regularly. That's the closest thing I have to a strategy: I go to a lot of places, many that artists don't visit.

Anybody who writes knows the horrible, wonderful, beautiful foulness that comes every week. A lot of moaning, screaming agony - "Oh my god, the deadline's coming."

A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.