To make cold sense out of the events of last year, I have been trying to order some of my thoughts. The situation is so complex that it spawns at least a dozen issues: 1. The destruction of the World Trade Center was a despicable, incredible act that can not be justified in any way. Americans have the right to feel fury and contempt for the perpetrators and those who gloat over their deed. Their deed was so foul that I turn away from the television screen whenever the events of September 11th are replayed. I feel too drained, at least so far, to spend time at Ground Zero when in New York...

El ataque terrorista que destruyó las Torres Gemelas y causó importantes daños en el Pentágono fue un acto que no tiene justificación alguna y ante el que había que responder. Pero, aunque la tragedia fue de gran magnitud, los Estados Unidos no pueden enfrascarse en una guerra de castigo unilateral contra los países que componen lo que Bush llama el "eje del mal", desvirtuando la actuación internacional contra los movimientos terroristas y convirtiéndola en una guerra abierta de devastación de territorios y poblaciones civiles...

A lavish exhibition of the Spanish artist's works, including his famous painting The Naked Maja, stirs new debate about his relationships with the women he painted. The 20th-century French novelist André Malraux proclaimed that "modern art begins" with the great Spanish artist Francisco Goya. Born in 1746 in the Spanish province of Aragon, the fiercely independent and relentlessly innovative Goya tackled a wide range of media and subject matter over the course of his half-century career. One of Spain's most celebrated artists, he served as a court painter to King Charles IV and counted such influential individuals as the renowned Duchess of Alba and royal adviser Manuel Godoy among his patrons. Though he suffered a near-fatal illness at age 47 that left him deaf, Goya went on to paint some of his most famous canvases, including his scandalous, at the time, Naked Maja...

On the 150th anniversary of Antoni Gaudí’s birth, adoring crowds make the pilgrimage to Barcelona to gaze upon the Catalan architect’s astonishing and whimsical works. In Barcelona, a yearlong celebration spotlights architecture's playful genius - the audacious and eccentric Antoni Gaudí. When I first came upon the startling and fanciful works of Antoni Gaudí a quarter of a century ago, I assumed he must have been some kind of freakish genius who created wonderful art out of his wild imagination, without regard to other architects or any artist before or during his time. I also thought that the Barcelona architect now being honored by that city’s "International Gaudí Year" celebrations was one of a kind, and that his fantastic curving structures, shattered-tile chimneys, lavish decoration and bizarre towers stood alone. I soon found, however, that this assumption troubled my Barcelona friends. To them, Gaudí was deeply rooted in the history of Catalonia, their region of Spain, and in the fashion of Art Nouveau that stirred such centers of culture as Paris, Vienna, Brussels, Glasgow, Munich and Barcelona at the turn of the 20th century. I was making the common error of an outsider encountering the greatness of Gaudí for the first time.

Painters such as Pablo Picasso and Joan Miró and architects such as Antonio Gaudí have given this city a reputation as a center of European art. Less known is its role as a musical metropolis. But Barcelona, the capital of the Spanish region of Catalonia, has produced as many virtuoso musicians as artists, and its three houses of music -- the Liceo, the Palau de la Música Catalana and L’Auditori -- are a delight to patronize, or merely to behold. The musical history is distinguished. Pablo Casals, the renowned cellist, founded and directed the Barcelona Symphonic Orchestra until the Spanish Civil War sent him into exile. Pianist Alicia de Larrocha debuted at the Palau de la Música Catalana, a showpiece of art nouveau architecture, at age 7. Until recently, when Madrid’s Teatro Real began staging operas, the Liceo served as the only major opera house in Spain...

We have seen a frightening performance in the last few weeks. President George W. Bush has shown us the ease with which a relentless and obsessed president, wielding simplistic language, exaggerating dangers, distorting history, invoking patriotism, churning fear and nightmarish memories, can smother debate and take almost all of us along for his ride...

Earl A. Powell III, director of the National Gallery of Art, toured the latest show in his museum 10 days before its opening. Workers were still adding the final touches as he made his way through the exhibition. In the last room, as he took in the paintings, he noticed, out of the corner of his eye, a young woman with long blond hair, jeans and running shoes admiring a work by Belgian surrealist Rene Magritte. “Have you met the courier from Cincinnati?” called out Mark Leithauser, the gallery’s director of design. Powell, an outgoing man known to his staff and friends as Rusty, turned to greet the young woman. As he did so, Leithauser burst into laughter. Powell had been hoodwinked. The young woman was “Portrait of Kim,” an incredibly lifelike sculpture created by American artist Duane Hanson in 1996...