December 26, 2009. In the wake of the New Museum's announcement of a controversial exhibition drawn solely from the extensive collection of billionaire Dakis Joannou, one of their trustees and founder of the Deste Foundation in Athens, and slated to be curated by artist Jeff Koons, who is heavily represented in that very collection and who is a close personal friend of Joannou, there has been a glut of commentary both pro and con. Mostly con.

Many resent the obvious conflicts of interest and the elitist monopolization of the finite resources of the art world by just a few players, who strive to dominate, manipulate and benefit their own interests to the exclusion of all others. Many find this cronyism quite reprehensible, and feel it represents "business as usual" at the New Museum, entrenched abuses of power and privilege that the current "Joannou-gate" has merely made more glaring.

One thing about the Vulture (Devouring Culture) section of the online edition of New York Magazine. When they write about art, it comes with a trendy hook, a fierce desire to stay just one step behind the young and creative. They generally hope to pin the tail on the zeitgeist.

This was again in evidence in their coverage of the recent opening of Without Walls, a group sculpture show at Museum 52, a gallery on Rivington Street, in which work by over 50 younger sculptors was exhibited, with the proviso "that the walls would not be used, and that the sculpture should be within the approximate dimensions of two foot high, one foot wide and one foot deep."

This led to a lot of small objects densely installed on the floor. And apparently it was a VERY crowded opening, with some of the work in seeming danger of being trampled by the celebratory hordes. So the New York Magazine piece naturally advanced a wild, Christmas party hook: "Artwork Goes Miraculously Un-Stepped-On at Perilous Group Show".

A response to the Jerry Saltz review in New York Magazine.

Martha Rosler has typically been too pat and jejune in her politics, and in her assumption that it makes for good art, and Jerry Saltz correctly nails the rehash aspects of the current Mitchell-Innes & Nash show. The word "on the street" (in this case West 26th) is that Rosler is breaking no new ground, merely updating and enhancing both the scale and production values of her familiar collaging of images. Once they were taken from the Vietnam battlefield and conflated with magazine clippings from the home front: fashion models, washing machines, living room sofas and credenzas, Playboy nudes. Now they include some "relevant" Iraqi/Afghani footage - burkas and amputees - and benefit from Photoshop. Rosler might have succeeded in "bringing the war home" in 1968, but as Thomas Wolfe said, "You Can't Go Home Again". The epithet "pretty war porn" might be a bit harsh, but it is not that far from the mark.