In homage to my favorite fug site, I'll say that I saw Chloe Sevigny at the party last night for the opening of the 2006 Whitney Biennial, "Day to Night."

She didn't look bad. Her baggy jacket said couture, and made me check out the person draped in it. Yep. Sevigny. She took off the baggy puce-colored thing to reveal a white suit with a little black country tie, like Bob Dylan on tour with his country band playing Vegas. But the white suit looked very Bianca Jagger.

I think to be a celebrity you need to have a death stare. Sevigny's said, stay away from me and my very long very bleached hair.

The show: dull and puce colored. Political. Stop Bush, Serra says, in his now iconic print of one of the hooded Abu Ghraib prisoners.

My favorite room was the one on the mezzanine near the Calders of "Amerika's Outlaws," including Mohammed Atta, Patty Hearst, Piss Christ, Larry Clark and Mapplethorpe photos, etc. Or maybe I just enjoyed this because at long last it was quiet in the room where they were on display.

The show is a little _quick_. I heard Leon Wieseltier define a criterion of art that you don't get it right away; you need to think about it. I would say not many of these pieces fit that criterion. Got it. Stop Bush. Not many of the pieces invited lingering.

I did like the Dada bunker: sandbags on the ceiling, Duchamp's bike wheel and french window and urinal with lights shining on them so they make shadows on the walls. I thought of the legacy of Dada.

On the third floor artists have broken up the gallery walls. Very transgressive.

I think one artist was included because he's cute and tall. It gets the kids in, and that seems a major purpose of this show.

Saw a few head-turners: Jeff Koons, Rufus Wainwright, three women all in red.

I drank an Amstel Light and left.