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.

Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.

Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.

Don't talk. I can't hear myself see.

Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.

Kinkade estimated that one of his paintings hung in every twenty homes in America. Yet the art world unanimously ignores or reviles him. Me included.