I also take pleasure in the so-called negative power in Grotjahn's work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn't simply working from a prescribed checklist of academically acceptable, curator-approved 'isms' and twists.

Giant group events are distorting organisms: You can like and hate them in rapid succession.

Anybody who writes knows the horrible, wonderful, beautiful foulness that comes every week. A lot of moaning, screaming agony - "Oh my god, the deadline's coming."

Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.

New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable - but certainly surmountable.

I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries.

Art is changing. Again. Here. Now. Opportunities to witness this are rare, so attend and observe.