It's great that New York has large spaces for art. But the enormous immaculate box has become a dated even oppressive place. Many of these spaces were designed for sprawling installations large paintings and the Relational Aesthetics work of the past fifteen years.

There's something pleasing about large well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all I love that more galleries showing more art gives more artists a shot.

Wolfgang Tillman's stunning large-scale pictures being shown for the first time were so offhand I failed to see them as art.

Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.

There's a lot of thought in art. People get to talk about important things. There's a lot of sex you know in art. There's a lot of naked women and men and there's intrigue there's fakery. It's a real microcosm of the larger world.

The art of love is largely the art of persistence.

But those musics do not address the larger kind of architecture in time that classical music does whatever each one of us knows that classical music must mean.

And when an architect has designed a house with large windows which is a necessity today in order to pull the daylight into these very deep houses then curtains come to play a big role in architecture.

To work in architecture you are so much involved with society with politics with bureaucrats. It's a very complicated process to do large projects. You start to see the society how it functions how it works. Then you have a lot of criticism about how it works.

Switzerland is a small steep country much more up and down than sideways and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.