Quotes from Jerry Saltz

A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

The price of a work of art has nothing to do with what the work of art is, can do, or is worth on an existential, alchemical level.

Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.

The greatest work of art about New York? The question seems nebulous. The city's magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.

In the late nineties, Katy Grannan began making haunting photographs of people who had extraordinary inner yens to be seen by strangers.

Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.

Art is good, bad, boring, ugly, useful to us or not.

All of Koons's best art - the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism, idealism, and fantasy.

Nearly a half-century on from feminism, simply being a woman artist is still a revolutionary act. And getting one's work shown continues to be met by enormous inbuilt resistance.

Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.

Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery, works of art need only one person who wants to pay for them.

Galleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.

Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.

We're all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We're also allowed to change or modify our opinions.

Ofili is still a champion. It would be a huge mistake to think otherwise.

To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously.

To me, nothing in the art world is neutral. The idea of 'disinterest' strikes me as boring, dishonest, dubious, and uninteresting.

The art world is molting - some would say melting. Galleries are closing; museums are scaling back.

Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.

Art is a self-replicating force.

I like that the art world isn't regulated.

Money is something that can be measured; art is not. It's all subjective.

Megacollectors suppose they can enter art history by spending astronomical amounts.