A great artist has a unique vision...obsession. They are someone willing to fail flamboyantly.

'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.

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 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.

Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly, decisively, for good.

Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.

The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.