You can calculate the worth of a man by the number of his enemies and the importance of a work of art by the harm that is spoken of it.

Imagine it's 1981. You're an artist in love with art smitten with art history. You're also a woman with almost no mentors to look to art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country a restricted and exclusionary domain that spoke a private language.

I was the first spokesperson for the Better Hearing Institute in Washington. And that's the message we tried to send out - there is hearing help out there and the technology and options are amazing.

Probably only an art-worlder like me could assign deeper meaning to something as simple and silly as Tebowing. But to us anytime people repeat a stance or a little dance alone or together we see that it can mean something. Imagistic and unspoken language is our thing.

There is a certain age at which a child looks at you in all earnestness and delivers a long pleased speech in all the true inflections of spoken English but with not one recognizable syllable.