Artists don't talk about art. Artists talk about work. If I have anything to say to young writers it's stop thinking of writing as art. Think of it as work.

Art saved me it got me through my depression and self-loathing back to a place of innocence.

In the first book of my Discworld series published more than 26 years ago I introduced Death as a character there was nothing particularly new about this - death has featured in art and literature since medieval times and for centuries we have had a fascination with the Grim Reaper.

The only way to avoid being unhappy is to close yourself up in Art and to count for nothing all the rest.

There are neither good nor bad subjects. From the point of view of pure Art you could almost establish it as an axiom that the subject is irrelevant style itself being an absolute manner of seeing things.

Art requires neither complaisance nor politeness nothing but faith faith and freedom.

Cinema is still a very young art form with extraordinary techniques and very impressive special effects but sometimes it seems the soul has been taken out of things.

A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

Art is for anyone. It just isn't for everyone. Still over the past decade its audience has hugely grown and that's irked those outside the art world who get irritated at things like incomprehensibility or money.

If the Frieze Art Fair catches on I imagine at least two great things happening. First we will once again have a huge art fair in town that isn't too annoying to go to. More importantly Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.

The Metropolitan Museum of Art is unsurpassed at presenting more than 50 centuries of work. I go there constantly seeing things over and over better than I've ever seen them before.

Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly decisively for good.

Artschwager's art always involves looking closely at surfaces questions what an object is wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.

The alchemy of good curating amounts to this: Sometimes placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact transform both and create a third thing.

A canon is antithetical to everything the New York art world has been about for the past 40 years during which we went from being the center of the art world to being one of many centers.

When money and hype recede from the art world one thing I won't miss will be what curator Francesco Bonami calls the 'Eventocracy.' All this flashy 'art-fair art' and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event.

It's art that pushes against psychological and social expectations that tries to transform decay into something generative that is replicative in a baroque way that isn't about progress and wants to - as Walt Whitman put it - 'contain multitudes.'

Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste momentary glitches in an artist's work or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times however these problems mean there's something wrong with the art.

The New York art world readily proves people wrong. Just when folks say that things stink and flibbertigibbet critics wish the worst on us all because we're not pure enough good omens appear.

Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity gizmos eating hanging out things that make noise - all are now the norm often edging out much else.

There's something pleasing about large well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all I love that more galleries showing more art gives more artists a shot.

To me nothing in the art world is neutral. The idea of 'disinterest' strikes me as boring dishonest dubious and uninteresting.

The price of a work of art has nothing to do with what the work of art is can do or is worth on an existential alchemical level.

Contrary to popular opinion things don't go stale particularly fast in the art world.