It’s easy to spot superficial categories when you go to a series of art fairs. The ones in Miami, Pulse in particular, got me thinking about the category that I call “Collections of Acquired Stuff.” This is the category of art that results from the condition of a society having lots of stuff to throw away. Unfortunately, that’s all I see in art of this category—a weak political message about overabundance and overproduction. There ought to be more to it, but this is really just a sub-category of readymades.

For some reason, I began to ask myself about the relevance of Duchamp these days. Does anyone still think about him? I’m not so sure. My peers act as if he has been completely absorbed and that all he thought is finished. It seems to me that his intentions, especially with the readymades, have been mutated beyond recognition by various artists and theorized into boredom by the historians. I keep remembering that Duchamp got to all the genres first—video art, conceptual art, installation, performance, appropriation, and even minimalism of the “minimal means” and “minimal amount of stuff to look at” types.

I have an absolutely massive to-do list for the next few months. If I can pull it off, there will be 40-50 new pieces. Among them will be:

-10 new crash test color studies
-a 10-part collision painting with colors that progressively shift on each side
-2 to 3 2-part collisions (including a large one that will be dark gray on darker gray)
-a flat-ish black hole with LEDs that light up in sequence
-lots of black hole drawings in various mediums and sizes (with black light frames and without frames)
-black hole tee shirts
-more large-scale black holes (one on the floor, and one in a corner)
-interesting titles for everything

Some other things that are brewing on the backburner--formless, intuitive:
-a few text-based pieces
-the beginning of a series of Blasts