Whatever else art is good for, its chief effectiveness lies in propagating more art.

All art is infested by other art.

One of the things I find most mysterious in Picasso's work is what I would call the 'unlocation of place.

One way to cope with the provocations of novel art is to rest firm and maintain solid standards... set by the critic's long-practiced taste and by his conviction that only those innovations will be significant which promote the established direction of advanced art.

If a work of art or a new style disturbs you, then it is probably good work. If you hate it, it is probably great.

The critic interested in a novel manifestation holds his criteria and taste in reserve. Since they were formed upon yesterday's art, he does not assume that they are ready-made for today.