I play hard. So the critical stuff doesn't surprise me or bother me.

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've had people say to me, "Well, how do I start collecting artworks?" Well, you start by buying. Buy what you like, buy what you can afford - and I'm not just saying that because I'm a dealer. You can't be so paralyzed to where you keep saying, "I've got to learn more." The best way to learn is to go home and actually put something on the wall. Then you've got an investment. Then you're living with it. Then you're in the game.

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

For me, collecting is sort of a natural extension of being an art dealer, because if you don't want to collect the artist, then you probably shouldn't be representing them.

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

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.