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.

When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.

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.

Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest, best, or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful, wicked, lovable, and annoying creatures known as art dealers).

Many say an art dealer running a museum is a 'conflict of interest.' But maybe the art world has lived an artificial or unintentional lie all of these years when it comes to conflicts of interest.

Of course art world ethics are important. But museums are no purer than any other institution or business. Academics aren't necessarily more high-minded than gallerists.

We're all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We're also allowed to change or modify our opinions.

Art is a marriage of the conscious and the unconscious.

I don't listen to what art critics say. I don't know anybody who needs a critic to find out what art is.

To play safe, I prefer to accept only one type of power: the power of art over trash, the triumph of magic over the brute.