It is an oldish question, but not perhaps a very interesting one, whether cooking is an art or not.

An ideal museum show would be a mating of Brideshead Revisited with House & Garden, provoking intense and pleasurable nostalgia for a past that none of its audience has had.

When the war (WWI) finally ended it was necessary for both sides to maintain, indeed even to inflate, the myth of sacrifice so that the whole affair would not be seen for what it was: a meaningless waste of millions of lives. Logically, if the flower of youth had been cut down in Flanders, the survivors were not the flower: the dead were superior to the traumatized living. In this way, the virtual destruction of a generation further increased the distance between the old and the young, between the official and the unofficial.

The greater the artist, the greater the doubt.

In America, nostalgia for things is apt to set in before they go.

Works of art... do not force meanings on their audience; meaning emerges, adds up, unfolds from their imagined centres... takes one through the process of discovering meaning.

Everything that would be said against the Eixample's heirs, from Le Corbusier's 'ville radieuse' to Oscar Niemeyer's Brasilia, was already said, with far less justice, about the Eixample itself. And all its critics concurred that the basic mistake was to have left the planning of a city in the hands of a socialist.