"After lunch I went over to the Whitney. For some reason I wanted to see the biennial. I'm not sure why. Before checking it out I went up to the fifth floor. That's where they hang work that's in the permanent collection. I'm glad I did. There was a gorgeous late fifties Lee Krasner painting hanging in a room of it's own. After staring, I walked down to the fourth floor and it looked like people were exercising on a huge black rubber matt that took up the entire floor. There were maybe fifteen people following the commands of a woman who was talking into a microphone... telling the fifteen people what to do. I think the fifteen people following the commands were people who had walked off the street. They kind of just "joined in". I've heard this type of activity in the art world is called "relational aesthetics"... or something like that... It felt like I was interrupting the "relation". I quickly got out of there. I walked down to the third floor and in the back there was a room filled with an artist's junk. There seems to be a room filled with an aritst's junk in every biennial I've ever been to. I'm not sure why this artist's junk was there. I walked around the corner and there were fifty Dana Shultz paintings on the wall. At least I think they were Shultz's paintings. (I walked by pretty fast). I skipped the second floor and went down to the lobby. What happened to the bookstore? There was none. There were some catalogues thrown out on tables that looked "remaindered"... what was there looked like a bake sale. I walked out of the Whitney having spent less than twenty minutes... fifteen of those standing in front of the Krasner."
- Richard Prince on the Whitney Biennial