Quotes from Jerry Saltz

In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.

If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.

When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.

Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.

Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

Make an enemy of jealousy and envy. As fast and soon as you can…. The art world is high school with money.

Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.

Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.

Among living artists, George Condo may be the most embraced by the powers that be.

I have never really cooked, don't know how to use my dishwasher, and subsist mainly on prepared deli takeout. I don't even eat in restaurants much.

The Metropolitan Museum of Art is unsurpassed at presenting more than 50 centuries of work. I go there constantly, seeing things over and over, better than I've ever seen them before.

I know it's dangerous to take on bloggers. They can go after you every day, all day long, and anonymous people can chime in, too.

You can't prove Rembrandt is better than Norman Rockwell - although if you actually do prefer Rockwell, I'd say you were shunning complexity, were secretly conservative, and hadn't really looked at either painter's work. Taste is a blood sport.

Artschwager's art always involves looking closely at surfaces, questions what an object is, wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.

The secret of food lies in memory - of thinking and then knowing what the taste of cinnamon or steak is.

Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.

These days, newish art can be priced between $10 000 and $25 000. When I tell artists that a new painting by a newish artist should go for around $1 200, they look at me like I'm a flesh-eating virus.

'Summer of Love: Art of the Psychedelic Era ' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.

I like that the art world isn't regulated.

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

First let me report that the art in the Barnes Collection has never looked better. My trips to the old Barnes were always amazing, but except on the sunniest days, you could barely see the art. The building always felt pushed beyond its capacity.

When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.

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.