480. A Room of Memory - Chiharu Shiota - 2009 - 21th Century Museum of Contenporary Art Kanzawa, Japan

1000 windows. This has always existed in my daymares.

481. Untitled - Judith Scott - 1988-89

I don't know anything about Judith Scott (1943 – 2005) besides I love her. I understand her Down's Syndrome was so severe she never spoke. Yet, her art sings. It is blobby, lumpy and stupid, colorful, textural, variable and emotionally stacked. Scott's place in the critical world of contempo art must be controversial but impossible to ignore. Collectors must want Scott. I say that because I would. See also:

Untitled, 2000-02

488. Boy with Frog - Charles Ray - 2009

American sculptor Charles Ray's sculpture Boy with Frog was recently removed from its place in Venice.

494. PixCell-Deer#24 - Kohei Nawa (Japanese, born 1975) - 2011

I was with my mother at the Met when we saw this. Both of us were captivated. Perhaps because I was raised in an American Mid-Western home were animals (particularly deer) were seen as ubiquitous food, I found this piece so compelling. Whereas I'd known deer as merely food or mounted trophies, here was a tricked-out trophy of a deer that through its ornateness seemed to mock the hunter-focused display of a deer heads I'd known previously. PixCell-Deer#24 is glorious. It's the most pimped-out version of a deer carcus I've ever known, and it's beautiful. Its beauty transcends my associations of taxidermy and the hunter grotesque to become something of a celebration of the animal and through its accoutrements a celebration of modernity itself.

495. Mother and Child - Romare Bearden - 1972

Looking at a picture of artist Bearden (1911 - 1988) is a bit shocking because his image imitates the genial Polish-ness of my father. It's difficult to reconcile the image of a chubby white-looking man with the concept of a major black artist who catapulted the innovation of black American representation. And yet, play it as it lies. Bearden's work is the viscerally modernist incarnation of black cliche. In Mother and Child we're served the Madonna and the Mammy as one in a primitive-cum-modern technique that reverberates with both the historical and the modern of Western art reconfigured as black contemporaneity.