After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.

More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.

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.

The reason I love blogs so much right now is that I am seeing more critical voices appear, and that's kind of thrilling. I think a lot of critics in their forties or even their thirties have had their voice scared or trained out of them by the academy. I have nothing against the academy. I think it's brilliant and fantastic, but I also think that it's become almost monolithic. The same way a lot of art looks the same, a lot of writing can sound the same and quotes the same theorists.

The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

Recessions are hard on people, but they are not hard on Art.

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