Anyone who frequents research libraries in Europe or North America will know that it is not unusual to encounter in them individuals who appear to be rather introverted and yet sport oddly ostentatious hairstyles, with unkempt shocks of hair sprouting with peculiar abandon from their pallid male scalps.
Imagine the Jeff Koons retrospective at the Whitney Museum of American Art as the perfect storm. And at the center of the perfect storm there is a perfect vacuum. The storm is everything going on around Jeff Koons: the multimillion-dollar auction prices, the blue chip dealers, the hyperbolic claims of the critics, the adulation and the controversy. The vacuum is the work itself.