One of our more urbane friends arrived at Castle Wit the other night to share a snifter with us, and also the news that some Quisling had been spraying crumbs at a Rothschild-financed art world dinner table to the tune of New York Times art critic Roberta Smith and her creepy microcephalic critic husband Jerry Saltz having the art world "locked up."
Now "locking things up" would be a strange ambition for a contemporary art critic anywhere, except of course occupied New York City in 2007. The odd and continuing saga of their vampirish interest in promoting the careers of masochistically available female art students aside, their perhaps unwitting but nonetheless enthusiastic recent participation in an actual Right Wing CIA op in the art world (see "Trouble with Gaskell" below) points to an even deeper engagement with invisible systems of manipulation and control that even we of Wit ever suspected.
That Jerry Saltz recently took a job at New York magazine--the only magazine that can manage to make the most exciting city in the world seem like Seattle--may be the clue that finally reveals the mysterious longevity of the hateful duo as the result of a Bush White House-financed Black Op.
We of Wit were completely prepared to finger them here as the charmless bureacratic tools of Operation Mockingbird, but alas, the creepy twosome have never evidenced any loyalty to anything other than their own zombie-like continuation past their Totally Awesome Eighties expiration dates.
Therefore, in the interest of liberty, the Wit Of The Staircase War Council invites all gallerists and artists (it's too late for curators, we're afraid) to snub, ignore, insult, refuse review illustrations to, and otherwise hinder each of the operatives until they and their reactionary influence are driven from our midst.
Do it for yourself, do it for the kids, do it to free things up and not lock them down.
Down with Smith and Saltz. U.S.A. Out Of N.Y.C.!!