I was delighted yesterday to discover my likeness in a cartoon-like tableau of last month’s R. Crumb press preview at the Frye. Written and illustrated by artist and art critic Molly Norris, it was published in the current issue of Art Access. I had provoked the subject of Ralph Lauren in my conversation with Molly by choosing that cold winter morning to wear a Stetson and a shearling coat. This led me to launch into what I’m sure was a rather tiresome analysis of the reactionary conservatism at the heart of Lauren’s nostalgic and romantic depiction of American history and express my dismay that a Jewish kid from Queens named Ralph Lifschitz could become so enthralled by the creepier trappings of WASP culture. I am far more at home amidst the pathological narratives of the unflinchingly honest R. Crumb than the aristocratic archetypes of the Reaganesque Ralph Lauren. But I digress.

Molly has done an excellent job of rendering the strange event known as the press preview. Art museums traditionally host a walk-through of their exhibitions for members of the press a day or so before the official opening. The curator - and sometimes the artist - will be on hand to explain the important ideas behind the show and answer any questions. Some, such as SAM’s recently opened Roman Art of the Louvre, can attract fifty people or more. Most contemporary art exhibits, however, are lucky to draw ten attendees. But when it comes to the most important guests, there are only two: the P-I’s Regina Hackett and the Stranger’s Jen Graves. The Seattle Times' Sheila Farr is seldom present and seemingly less inclined to review contemporary art from outside the region. Sometimes Matthew Kangas, covering the local scene for Sculpture or Art in America, will show up. There is usually a small group of freelance critics from various local publications and, at the bottom of the guest list, yours truly.

I do enjoy these get-togethers, for they offer insights into an artist’s motivation and the institution’s packaging of it. There is also a degree of art critic camaraderie and usually a little bit of drama. Like all good art critics, Regina and Jen have had the occasion to infuriate the staffs of our local museums and one can often feel some residual tension at these gatherings. But under such circumstances, the two of them remain friendly and professional with everyone in attendance. Whether on account of their skill or circulation numbers, they elicit deference from all those present.

While the public relations people at all of our museums are quite good, the Henry's Betsey Brock is in a class by herself. No one can navigate the occasional tongue-tied artist, high-strung curator, or pretentious art critic question with her grace and poise. I am sure that her good manners have spared me more than once from being embarrassed by something foolish I hadn’t realized I’d said.