Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.

I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.

Any critic will tell you that there are a few dealers where you get a little bit scared to go into their gallery, and that's unfair to them, to yourself, to the reader, and to the artist. But I just want to look. When I'm done looking and writing, I love talking to art dealers. They are so alive and interesting and amazing - from Larry Gagosian all the way on down.

I hate when dealers talk to me. I love dealers - they're some of our favorite people in the art world. But I hate if they do a sales pitch on me. I can't stand it.

Yes, 85 percent of the art you see isn't any good. But everyone has a different opinion about which 85 percent is bad. That in turn creates fantastically unstable interplay and argument.

When art wins, everyone wins.

When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.