Hofmann is perhaps the most difficult artist alive-difficult to grasp and to appreciate. But by the same token he is an immensely interesting, origin… - Clement Greenberg

The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end.

The superior artist is the one who knows how to be influenced.

It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition. Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification.