In art there is no progress, only fluctuations of intensity.

Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.

Popular in our time, unpopular in his. So runs the stereotype of rejected genius.

Why should we expect modernist taste to be any smarter than premodernist or postmodernist?

The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize.

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.

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.