When a collector says, "You've got to educate me," or "What's a good investment?" then I don't know what to say. I have no idea. Let's face it, I'm probably going to recommend artists that I represent.

Working with younger artists kind of tests your judgment. You're not always right, but when you are, it's exciting.

The so-called "secondary market" has also always been something that I'm comfortable with. I'm not a dealer who turns his nose up at that part of the business. I'm an art dealer - my primary responsibility is to represent the artist.

I think functioning as a business manager can be a hindrance to having a real dialogue with the artist. I do think that artists need good lawyers and accountants, because they're dealing with serious money. But an artist who stands behind a manager? That's a little different. I think that can be a bad buffer.

Honestly, I grew up in pretty modest circumstances. We were a middle-class family.

The art market is global now, and theres becoming more of an international consensus about what constitutes good art.

The way you present your work has a lot to do with how people receive and regard it.