I Don't Know Much About Auctions. I

When Money And Hype Recede From The Art World, One Thing I Won't Miss Will Be What Curator Francesco Bonami Calls The 'eventocracy.' All This Flashy 'art-fair Art' And Those Highly Produced Space-eating Spectacles And Installations Wow You For A Minute Until You Move On To The Next Adrenaline Event.

Contrary To Popular Opinion, Things Don't Go Stale Particularly Fast In The Art World.

The Debut Show, “second Lives: Remixing The Ordinary,” Is Supposed To Be About How Artists Reuse Humble Or Unusual Materials. There’s Good Work Here, But Much Of What’s On View Is Actually More About Obsession And Repetition: A Couch Made Out Of 3,500 Quarters, A Necklace Composed Of 100 Handgun Triggers. The Building, Too, Seems Caught Between Wanting To Be An Object Of Decorative Delectation And Making An Architectural Statement.

Imagine It's 1981. You're An Artist, In Love With Art, Smitten With Art History. You're Also A Woman, With Almost No Mentors To Look To; Art History Just Isn't That Into You. Any Woman Approaching Art History In The Early Eighties Was Attempting To Enter An Almost Foreign Country, A Restricted And Exclusionary Domain That Spoke A Private Language.

Certainty Sees Things In Restrictive, Protective, Aggressive Ways, And Thus Isn't Seeing At All.