I love art dealers. In some ways they're my favorite people in the art world. Really. I love that they put their money where their taste is create their own aesthetic universes support artists employ people and do all of this while letting us see art for free. Many are visionaries.

While a large segment of the art world has obsessed over a tiny number of stars and their prices an aesthetic shift has been occurring. It's not a movement - movements are more sure of themselves. It's a change of mood or expectation a desire for art to be more than showy effects big numbers and gamesmanship.

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.

After its hothouse incubation in the seventies appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.

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

Design is the method of putting form and content together. Design just as art has multiple definitions there is no single definition. Design can be art. Design can be aesthetics. Design is so simple that's why it is so complicated.

It is veneer rouge aestheticism art museums new theaters etc. that make America impotent. The good things are football kindness and jazz bands.

For art to exist for any sort of aesthetic activity to exist a certain physiological precondition is indispensable: intoxication.

Art is an invention of aesthetics which in turn is an invention of philosophers... What we call art is a game.

The aesthetic of architecture has to be rooted in a broader idea about human activities like walking relaxing and communicating. Architecture thinks about how these activities can be given added value.