Jerry Saltz

I also take pleasure in the so-called negative power in Grotjahn's work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn't simply working from a prescribed checklist of academically acceptable, curator-approved 'isms' and twists.

From 1961 to 1964, I was fortunate enough to work at a think tank in the Kenwood neighborhood of Chicago. As a writer and editor, I reported in a publication about the thinkers. Our offices were in a former mansion; I worked in what had been the ballroom. As I sat typing my copy, I imagined the dancers waltzing.

What I look for when I see a piece of art for the first time is some kind of emotional, intellectual experience, that's a combination of both of those things and is informed by my knowledge and something new that I see the artist doing.