Working with younger artists kind of tests your judgment. You're not always right, but when you are, it's exciting.

When a collector says, You've got to educate me, or What's a good investment? then I don't know what to say. I have no idea. Let's face it, I'm probably going to recommend artists that I represent.

Professionally, what comes first is representing the artist.Whether they're alive or dead.

I never really took a proper art class in college. I just started reading art magazines and going to galleries.

The so-called secondary market has also always been something that I'm comfortable with. I'm not a dealer who turns his nose up at that part of the business. I'm an art dealer - my primary responsibility is to represent the artist.

I don't think you can tell somebody how they should collect. I think it's just about being turned on by art.At the end of the day, some people just kind of get it. They don't all get it in the same way or get the same artists, but it's a journey that excites them.

For me, collecting is sort of a natural extension of being an art dealer, because if you don't want to collect the artist, then you probably shouldn't be representing them.

The sun never sets on my gallery.

I don't know what 'loyal' means.

The art market is global now, and theres becoming more of an international consensus about what constitutes good art.

Honestly, I grew up in pretty modest circumstances. We were a middle-class family.

I play hard. So the critical stuff doesn't surprise me or bother me.

The way you present your work has a lot to do with how people receive and regard it.