If only we could persuade galleries to observe a fallow period in which for two months every other year new and old works of art could be sold in back rooms and all main galleries would be devoted to revisiting shows gone by.

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.

A saboteur in the house of art and a comedienne in the house of art theory Lawler has spent three decades documenting the secret life of art. Functioning as a kind of one-woman CSI unit she has photographed pictures and objects in collectors' homes in galleries on the walls of auction houses and off the walls in museum storage.

The last time money left the art world intrepid types maxed out their credit cards and opened galleries and a few of them have become the best in the world.

Can space break? I mean the space of art galleries. Over the past 100 years art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.

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.

Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.

There's something pleasing about large well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all I love that more galleries showing more art gives more artists a shot.

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.

The art world is molting - some would say melting. Galleries are closing museums are scaling back.

Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.

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.

I like what I see now in China but I think the Japanese are a step ahead into craziness and weirdness. I go to galleries there that are the size of a New York elevator and every time I'm surprised by the amazing things I find. I really hope I'll be able to promote some of these artists to show their work in the West.

I've worked on films where the budgets are almost limitless and you're in trailers that are bigger than a hotel room. You're taken care of and the food is amazing the quality of the job is amazing and then you work on smaller things but it never dictates my happiness or my willingness to go to work.

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.