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In this article the author discusses issues concerning politics and the state of art industry in the U.S. He explores the relations between art and the uncertainties of the political conditions in the country. He views on the possible actions taken by the administration of President Barack Obama for the development of arts. The author also cites the move to formulate federal arts policy.

The author reflects on the written responses to the 2006 summer's exhibition called "Documenta 12," which described as problematic and confusing exhibition which was held in Kassel, Germany. He assesses that the exhibition has competed against other big exhibitions including the Venice Biennale and the Munster Sculpture Project showing historical contributions of three-dimensional art. He emphasizes that the artworks have depicted contemporary art that reveals real politics and social issues.

The author reflects on Matthew Barney's "Drawing Restraint" exhibition at the San Francisco Museum of Modern Art in California. He conveyed that the exhibition was about the effort of finding a perfect symmetry of apple and tree. He compared it to Bruce Nauman's early films on sculpture history. For him, the difference between them is that Nauman's work has always had ruthless modern chamber music quality, while Barney's focuses in operatically baroque direction.

The author reflects on the implications of global economic crises in the art world and how to mitigate its effects to the industry. He refers to the reform regarding the U.S. arts policy, particularly in the commissioning of the public art projects. He argues that the restitution of the National Endowment for the Arts approach to arts funding.

The author reflects on the controversy surrounding Kenneth Baker's article that reviews the Dale Chihuly exhibition at de Young Museum in San Francisco, California. He argues that in the desire of the museum to draw a crowd, it confused categories of sculpture and home furnishings. He adds that the controversy called attention to how de Young embraced the British light program. He claims that in a follow-up article, Baker defended his own approach to the exhibition and art criticism in general.

The author reflects on the Society of the Spectacle which was described by Guy Debord in 1967. According to him, it is difficult to argue with Debord because his theoretical position has an effective control for refutation. He stated that the unintentional consequence of Debord's argument is the authorization of its own morality liars. He added that the present spectacle also counts for artists who position their work into the current of spectacle.