The art world is an all-volunteer force. No one has to be here if he or she doesn't want to be, and we should be associating with anyone we want to.

The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn.

As I made my way through 'On Line,' the austere, stridently dogmatic, sometimes revelatory exhibition 'about line' at MoMA, I found myself thinking, 'Someone please wake me when the seventies are over!' In the empire of curators, the sun never sets on the seventies. It is the undead decade.

Make an enemy of jealousy and envy. As fast and soon as you can…. The art world is high school with money.

As I went through 'This Progress,' one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright's emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace.

Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.

The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter, surface, color, composition, touch, scale, form, or skill is remotely original. They're all cliche and already told.