The basic unit for contemporary art is not the idea, but the analysis of and extension of sensations.

Art is seduction, not rape.

A lot of what I've written in criticism of my lust for virtue - my discovery that I've committed idolatry, making of the good an idol - is open to the charge of being still caught within the dialectic of idolatry. I've made a moral criticism of my moral consciousness. Meta-idolatry.

The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.

The public voice in the theater today is crude and raucous, and, all too often, weak-minded.

A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture

Bleak factory buildings and billboard-cluttered avenues look as beautiful, through the camera's eye, as churches and pastoral landscapes.