A war still rages over the legacy of the 1960s.

• Out with stereotypes, feminism proclaims. But stereotypes are the west's stunning sexual personae, the vehicles of art's assault against nature. The moment there is imagination, there is myth.
• Modern bodybuilding is ritual, religion, sport, art, and science, awash in Western chemistry and mathematics. Defying nature, it surpasses it.
• Rule of art: Cant kills creativity!
• Does art have a future? Performance genres like opera, theater, music and dance are thriving all over the world, but the visual arts have been in slow decline for nearly 40 years. No major figure of profound influence has emerged in painting or sculpture since the waning of Pop Art and the birth of Minimalism in the early 1970s.
• The 1990s, after the reign of terror of academic vandalism, will be a decade of restoration: restoration of meaning, value, beauty, pleasure, and emotion to art and restoration of art to its audience.
• In an era ruled by materialism and unstable geopolitics, art must be restored to the center of public education.
• Because most of my career in the classroom has been at art schools (beginning at Bennington in the 1970s), I am hyper-aware of the often grotesque disconnect between commentary on the arts and the actual practice or production of the arts.
• One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.
• Madonna remains the most visible performer on the planet, as well as one of the wealthiest, but would anyone seriously say that artistic self-development is her primary motivating principle? She is too busy with Kabbalah, fashion merchandising, adoption melodramas, the gym, and ill-starred horseback riding to study art.
• It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.