The you-know-what at the you-know-where

Here's one way to think about it: The Met was so nervous about Steven Cohen's Damien Hirst's shark that it let Roberta Smith in to see it only under cover of night. And how ironic is it that the most famous European artwork of the last 20 years goes up in NYC just after the NYT's chief art critic flees for Europe?

Brent Burket has the day's best write-up. And Edward Winkleman is good too.

As for me? This is proof that Robert Smithson's ideas about art and natural history museums have finally jumped the... Oh nevermind.