Then he goes for the kill. And it's an indictment of the entire art world especially the Anglo-American one based in New York City and London:
However you want to frame it--the bridging of high-cultural and low, the mining of the gap between art and life—the ostensibly democratic conceit underlying much of the big-name art being produced today has been co-opted by the powerful and ossified through incessant repetition, it's become meaningless. Little more than populism for plutocrats, the notion is treated by the art world as an article of faith to be tithed with bids at the auction house and admissions at the museum door. But that is all the idea really is now: a belief. Aping it doesn't make an artist interesting or important any more than jumping out of a window makes you able to fly.
Unfortunately, Lisa Phillips has spent the better part of two decades implementing that very program--first at the Whitney and now at the New Museum.