All Art Comes From Other Art, And

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.

Mission Accomplished. The Museum Of Modern Art's Wide-open, Tall-ceilinged, Super-reinforced Second Floor Was For All Intents And Purposes Built To Accommodate Monumental Installations And Gigantic Sculptures, Should The Need Arise. It Has Arisen.

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.

The Art World Is An All-volunteer Force. No One Has To Be Here If He Or She Doesn't Want To Be, And We Should Be Associating With Anyone We Want To.

Galleries Began Growing In Both Number And Size In The Late Seventies, When Artists Who Worked In Lofts Wanted To Exhibit Their Work In Spaces Similar To The Ones The Art Was Made In.