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.

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."

Willem de Kooning is generally credited for coming out of the painterly gates strong in the forties, revolutionizing art and abstraction and reaching incredible heights by the early fifties, and then tailing off.

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.

Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.

Of all the biennials, triennials, quadrennials, internationals, and massive group shows, Documenta, established in 1955 and held once every five years in Kassel, Germany, is seen as the most serious. A statement show.