It was only last week that I heard that Art & Antiques magazine had reviewed Rogues’ Gallery back in July and, I was further informed, called its author (i.e. me) boorish and scornful. It took a day to find a copy, but when I did I read, to my great surprise, “Hucksters and Housekeepers,” one of the most perspicacious reviews of the book yet published. Jonathon Keats, who is apparently an artist, did indeed say I was boorish (on the subject of art, which isn’t the book’s subject, but never mind), and scornful (but of “the pettiness of rich trustees such as Jayne Wrightsman and Annette de la Renta, whose every foible has been uncovered,” not the museum), but he also looked beneath the froth and controversy to discover the beating heart of the book, the idea “that even the most exhausted repository of moribund masterpieces can be reinvigorated by a combination of new work and new ideas.” In his last paragraph, Keats accuses me of misinterperting one of the great moments of the Tom Hoving era at the Met, his exhibition of James Rosenquist’s F-111 with Emanuel Leutze’s George Washington Crossing the Delaware, Jacques-Louis David’s Death of Socrates and Nicolas Poussin’s Rape of the Sabine Women — when in fact the interpertation of that show was Hoving’s not mine, but never mind. Haters of the book (hiya — it’s not going away, is it?) may love this review — but so do I.