+ The auction room, as anyone knows, is an excellent medium for sustaining fictional price levels, because the public imagines that auction prices are necessarily real prices.
+ Drawing brings us into a different, a deeper and more fully experienced relation to the object.
+ Most of the time they buy what other people buy. They move in great schools, like bluefish, all identical. There is safety in numbers. If one wants Schnabel, they all want Schnabel, if one buys a Keith Haring, two hundred Keith Harings will be sold.
+ Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies.. the desire for an active, investigative, manually vivid relation with the things we see and yearn to know about.. is apparently immortal.
+ Art prices are determined by the meeting of real or induced scarcity with pure, irrational desire, and nothing is more manipulable than desire.
+ The idea that money, patronage and trade automatically corrupts the wells of imagination is a pious fiction, believed by some utopian lefties and a few people of genius such as (William) Blake but flatly contradicted by history itself.
+ With its hacked contours, staring interrogatory eyes, and general feeling of instability, Les Demoiselles is still a disturbing painting after three quarters of a century, a refutationof the idea that the surprise of art, like the surprise of fasion, must necessarily wear off. No painting ever looked more convulsive.
+ The museum has very largely supplanted the church as the emblematic focus of the American city.
+ On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging.
+ A fair price is the highest one a collector can be induced to pay.