In hockey, the story of the Sochi Olympics was the shame of the Russians. From the start, even after Ovechkin scored a goal barely a minute into their game against Slovenia, they looked nervous. American commentators joked about Putin’s presence in the stands. Russian commentators did not joke about it. They couldn’t understand why their team looked so ill at ease.

ARTSCENTER TALKSOURCE isn’t just an internet art replay talk show, co-hosted by Roger White and Dushko Petrovich, two of America’s leading art commentators. It’s much, much more. ARTSCENTER TALKSOURCE transports the at-home audience into the gallery. ARTSCENTER TALKSOURCE replays the art, gets inside it, shows how it works in real time. ARTSCENTER TALKSOURCE makes the scene.

No military units would consider taking me on as an embedded artist at that time, so I thought I’d better just buy a ticket to Kuwait City and see if I could find a way into Iraq. After a few frustrating days I finally hooked up with two French reporters who gave me ride to Baghdad; there I found a battalion from 3rd ID with an enthusiastic commanding officer who gave me free reign with his platoons.

Because detective shows and soap operas use this blurry-foreground move so regularly, its sudden ubiquity in the news represents a significant shift in register, or even genre, for journalism. Photojournalism has for decades restricted itself to a stark framing of visual facts, never wishing to compromise its evidentiary role in the narration for a more theatrical one. The best news photos deftly capture the drama with a shutter click, but that is also the abiding rule: it either happens in that click, or it doesn’t make it to print.

Uruguay vs. Portugal brought us, mercifully, to the point where Ronaldo was also gone. Nothing against either of them, but their presence is such that even having one of them involved means the epic Messi–Ronaldo debate eats up all the air time and “analysis.” Men who know nothing pontificate. Good and evil are spoken of in utter seriousness. 7 percent of the internet is devoted to this debate, so let me take a moment to end it. They are both utterly amazing! And brace yourselves: they are equally amazing, and they are differently amazing. I don’t know why this is so hard for people to accept. There is no way, in a team sport, to bring the issue to further clarity, so I recommend everyone drops this line of debate. Please, take the fact that the universe put them out in the same round as a sign.

As a civilian, Balotelli is outlandish. Last year, his white Maserati was impounded twenty-seven times, accumulating £10,000 worth of parking tickets. He also accidentally set his house on fire with firecrackers, was fined a week’s wages for throwing darts at a teammate, and kept turning up unannounced in strange places, including a women’s prison in Brescia (“just fancied having a look”).

Post-critical: We made ourselves so familiar with the past, learned so much about its modes and movements, diligently collected and studied its images, that it made sense, this persistent desire to be judged as if from the omniscient future. We loved the past, and this (always-postponed) ideal critique would finally allow us to merge with it.

If the Grim Reaper were alive today, it seems he would be wearing sneakers. As the faceless city waits for cabs and hops in cars, he’s busy. He’s running around, jaw dropped—is he about to speak? Both his fists are clenched: one swings up in an even-paced trot, while the other grips a baby-blue case with fingerless gloves. What does he keep in there?

The avant-garde isn’t what it used to be. Our sprawling culture industry busies itself mainly in locating things in the network presented by the relatively recent past. Everybody is described as the love child of so-and-so and so-and-so, so everybody gets called neo this or neo that, unless the parents are divorced—then they get called post.

Like any good hitter, Ruscha swings with precision. He has a smooth stroke, which often gets called “cool,” and is often misunderstood as dependable. But Ruscha swings at a lot—palindromes, gas stations, entire empires—and so he occasionally strikes out. The abstract nouns Truth and Hope, set on faded teal and ice blue, are too bland to trouble me visually, or philosophically.

In 1968, the Democratic Convention broke heads, so Guston broke out. Nixon swelled with lying, Guston drew him that way. Guston said he didn’t just want his paintings to sit on the wall. The world was horrible, and the art world was being polite. So Guston invited hairy limbs to the party. What are those limbs doing? Can anyone explain their behavior?

Steve Mumford’s watercolors from Iraq are, paradoxically, the most topical and the most stylistically out of sync works in the show, which might explain their placement on the walls of the hallway near the staff offices. An impressive corridor of images that Winslow Homer or John Singer Sergeant could have painted shows us details from our occupation of Iraq.