Though the art market is often described as capricious, it has a clear logic: the art that commands the most money at a given moment is that which best reflects its collectors’ view of themselves—pious or powerful, beautiful or deep. Jeff Koons—whose shiny objects, vendor-babble, and dead smile recur like a fugal motif throughout the film—has provided this service for decades, celebrating the crass while flattering his buyers that they are clever and superior for being in on the joke. – New York Review of Books