The nice thing about the gallery shows is that without having to pay any money you can just go and see it.

There is something uniquely depressing about the fact that the National Portrait Gallery's version of the Barack Obama 'Hope' poster previously belonged to a pair of lobbyists. Depressing because Mr. Obama's Washington was not supposed to be the lobbyists' Washington the place we learned to despise during the last administration.

History is a gallery of pictures in which there are few originals and many copies.

I've noticed a lot of younger artists have less fear of doing different sorts of things whether it's various types of music or gallery artists moving between video and sculpture and drawing.

The Church is not a gallery for the exhibition of eminent Christians but a school for the education of imperfect ones.

Being a good Hans Haacke student part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.

Bracketing has turned all my experiences remembered and present into a gallery of miracles where I wander around dazzled by the beauty of events I cannot explain.

I see 30 to 40 gallery shows a week and no matter what kind of mood I'm in no matter how bad the art is I almost always feel better afterward. I can learn as much from bad art as from good.

Auction houses run a rigged game. They know exactly how many people will be bidding on a work and exactly who they are. In a gallery works of art need only one person who wants to pay for them.

Works of art often last forever or nearly so. But exhibitions themselves especially gallery exhibitions are like flowers they bloom and then they die then exist only as memories or pressed in magazines and books.

Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs photographs of advertising sculpture with ready-made objects videos using already-existing film.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial and I'm seeing it blossom and bear fruit at 'Greater New York ' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

Courtesy is a silver lining around the dark clouds of civilization it is the best part of refinement and in many ways an art of heroic beauty in the vast gallery of man's cruelty and baseness.

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.