Jerry Saltz makes a list of things the New Museum might do to get people off their case, and back on their side.

Dia Foundation for the Arts locked its doors on Friday. This building’s near-perfect 36,000 square feet will be dearly missed.

“The Whitney Biennial is thoughtful, humanly scaled, and blessedly low on hype” – Jerry Saltz.

“This is not only the greatest of Whitney Biennials, it is the greatest show ever produced by the Whitney” – Charlie Finch.

Reviews: “When Rogers is good, he is truly excellent,” Charlie Finch on Les Roger’s show at Leo Koenig.

Tara Donovan’s sculptures employ thousands of ordinary household objects in installations whose structural integrity seems miraculous.

Mr. Jonathan Jones is done with Damien Hirst’s art. “His work is stupid, arrogant and devoid of beauty,” says a writer.

Has Gabriel Orozco’s interesting weirdness turned into plain old shtick? “His work often feels more ordinary than strange” – Jerry Saltz.

“The years 2000 to 2009 saw the emergence of a tremendous number of really good, interesting, promising artists” – Roberta Smith.

Peter Schjeldahl on Urs Fischer exhibition – “The New Museum could just as well not have done the show while saying it did.”

This was the year that the art world repeatedly checked its pulse to see if it was still alive. And guess what? It persisted.

Art critic Jerry Saltz selects the works from the last decade that we’ll still be talking about in ten years to come.