I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'

The greatest work of art about New York? The question seems nebulous. The city's magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

The secret of food lies in memory - of thinking and then knowing what the taste of cinnamon or steak is.

I don't want to hear at all what the artist thinks about his art. And I'm not writing for the artist. I'm writing for the reader, and I want to tell the reader what I think.

Once artists are expected to shock, it's that much harder for them to do so.

Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.

I think that a lot of artists have succeeded in making what I might call "curator's art." Everybody's being accepted, and I always want to say, "Really? That's what you've come for? To make art that looks a lot like somebody else's art?" If I am thinking of somebody else's art in front of your art, that's a problem.