The Voice said [it] looked like cheesy hotel art at first - this is part of the appeal. Like [Laura] Owens he toes that bad/good line. Plus he can paint in the old romantic sense of pushing colored mud around a canvas. But it's not all intuition and action painting - he does have a strategy, a formula if you will, that gives the work a sort of steely logic keeps me from yawning. In addition to the historical technique, alla prima, a wet into wet impasto type application, he uses a number of signature techniques - he calls some of them monads, bulldozers, flings and pillows - that sees him pulling starburst-like strings from globs of paint, squeezing pigment straight from the tube - then carving a flat edge off the top of these ribbons, and trowelling and excising geometric shapes. I'm a sucker for straight from the tube pure color and juxtaposing high key and putrid, ugly color.

Artforum describes [Tillmans'] installation techniques as similar to the way teenagers decorate their bedrooms, "scattering unframed photos across the wall, mixing huge and tiny" etc. Oh, I don't think so. Has this writer ever seen a teenager's room? Perhaps he'd like to go home to Ohio with me and check out my 16-year-old sister's floor to ceiling collage - not an inch of free wall space.

Shiny greenish-grey minimalist sculptures cast from video games or ATMs. I told the desk jockey "that one ATM isn't working." She didn't think I was funny.