I don't like the word 'poetry,' and I don't like poetry readings, and I usually don't like poets. I would much prefer describing myself and what I do as: I'm kind of a curator, and I'm kind of a night-owl reporter.

Thanks to secondary education and the Internet, we're all knowledgeable now - if knowledge means the accumulation of facts. Curators are those who know how to maneuver around that knowledge.

I play a curator, the most American part you can think of. My work is to protect the Declaration of Independence. I work at the National Archives in Washington.

The privilege I've had as a curator is not just the discovery of new works... but what I've discovered about myself and what I can offer in the space of an exhibition - to talk about beauty, to talk about power, to talk about ourselves, and to talk and speak to each other.

I'm happy to be content-maker as well as curator, so I'm happy to also be a presenter for amazing things.

Too many younger artists critics and curators are fetishizing the sixties transforming the period into a deformed cult a fantasy religion a hip brand and a crippling disease.

I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.

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.

I also take pleasure in the so-called negative power in Grotjahn's work. That is I love his paintings for what they are not. Unlike much art of the past decade Grotjahn isn't simply working from a prescribed checklist of academically acceptable curator-approved 'isms' and twists.