I Also Take Pleasure In The So-called

In Art, Scandal Is A False Narrative, A Smoke Screen That Camouflages Rather Than Reveals. When We Don't Know What We're Seeing, We Overreact.

Outside Museums, In Noisy Public Squares, People Look At People. Inside Museums, We Leave That Realm And Enter What Might Be Called The Group-mind, Getting Quiet To Look At Art.

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.

Urs Fischer Specializes In Making Jaws Drop. Cutting Giant Holes In Gallery Walls, Digging A Crater In Gavin Brown's Gallery Floor In 2007, Creating Amazing Hyperrealist Wallpaper For A Group Show At Tony Shafrazi: It All Percolates With Uncanny Destructiveness, Operatic Uncontrollability, And Barbaric Sculptural Power.

It Took Me Twenty Years To Get Steven Parrino's Work. From The Time I First Saw His Art, In The Mid-eighties, I Almost Always Dismissed It As Mannered, Romantic, Formulaic, Conceptualist-formalist Heavy-metal Boy-art Abstraction.