New York is an infected city, and millions of people being arriving there, in hope that it contagious. The bacillus of art, as bacillus of Koch (by the way, this comparison belongs to Malevich), made mouldering and rotten not only recognized canons of style in art, advertising, and dresses of the Williamsburg girls, but also some subway stations, which suffered, it seems, exactly from that virus. Here are drops of dirty water, flowing down the walls, which overgrown with fungus, fall into rusty water between lath, and suddenly well-dropped garbage converts this impartial picture into a shot from Tarkovsky movie, and a pattern of pulled of tile - into Oleg Tistol picture.

New York amazes much after Kiev, and in particular of that hand-made design in spaces and objects. In Kiev, everybody enjoys technological possibilities and does something even, exact and identical, but in New York, it is possible to notice a unique author style in advertising, signboards, and spaces design. Certainly, nobody has illusions regarding commercialization of this uniqueness, but the presence of vital creative energy of many creative people fells here well.

If to talk not about industrial art, but about an art for an art, scales of its reproducing, demonstrations, and advancements remind the idea of superfluity and over-producing. Enormous machinery of the most developed in the world art market attracts to the city all kinds of artists, offering them equal competition terms and exhibition spaces of such size, that all gallery life in Kiev will easily fit into couple-floor condominium in New York Chelsea.

Certainly, up to these scales, any attempt to answer the question about dominating tendencies in art-space of New York, turns into hopeless and unrealizable thirteen feat of Heracles - for example, to visit 4000 New York galleries in a month, and then skillfully declare: "Green color and domestic sticky tape use, were very popular in installations, in February". While possessing neither Heracles power nor his persistence, it is possible to make conclusions starting from rated galleries. Besides, significant are biennales, special group exhibitions, and shows in auction houses.

For example, in the gallery of joint stock house of Philips de Pouri, it is possible to purchase a small work by Damien Hirst, with his firm varicolored circles, for minimal 1000 dollars. Although, there are million-dollar paintings of Hirst, and other classics of contemporary art, as Warhol or Liechtenstein. You can see interesting French, Germans, and Brits in removable shows, for example, video-artist from Munich Julian Rosenfield, or French jeweller Frederic Zaavi. Larry Gagosian exhibits high quality American art, and other traditional media as fine arts and graphics of Mark Grotjahn or Richard Artschwager, leaving for his European galleries greater names, such as Cy Twombly or Ed Ruscha. After attending the Contemporary art Biennale in Whitney Museum, it seems, that best American artists were enticed by best gallery owners, who prohibited them to take part in such event, after examination of which, begin being seriously scared about the future of art on this continent. However, some people talk about lobbying interests of certain artistic groups in arranging of such shows, which testifies about the tense competitive activity, and even about real power of influence of "Art-Masonic" syndicates.

If to talk about gallery owners, for example, Anton Kern gallery shows German sculptor Manfred Pernis, who meditates upon the history with the help of geometrical objects and cardboard scrap. David Zwinger shows a few European artists, who work in mixed technique - pictures, paintings, and dioramas, photo, and video. There are conceptual and aesthetic variations from minimalism to rocaille, from social-political slogans to personal stories. Gallery Gladstone presents Andro Wekya, a Georgian artist from Switzerland, who dreams up of history recurrence with the help of painting, sculpture, collage, and video. In Metro Pictures are video art and ceramics, both are artists of Chicago school: Katherine Sullivan and Sterling Rabi. In Tilton gallery, where used to lecture contemporary European intellectuals as Alain Bodiou and Slavoy Jijek, is shown only Chinese art.

In the epoch of long-ago established postmodernism, in the city of victorious capital, is possible to see everything (and not to die). To miss fine arts, while viewing installations and objects, to visit Metropolitan and divide on sutures from the abundance of these glazes, chiaroscuros, and right compositions, and then again - New Contemporary art Museum, where on six glossy ipod-looking floors you can see 3 graphic works and no painting. Or, to attend MOMA, where art has accreted with design. Obviously, this process of exclusion fine arts and graphics into crafts, and substitution with installations and video art is a trend, which will come to Kiev in 5-10 years. Certainly, painting is still governs in the most respectable collections, but also, there are already some space prepared to be filled, for example, with empty Coca-Cola bottles in cement, inside frayed bucket.