Doug Aitken’s Sleepwalkers: commissioned by the MoMA and Creative Time, Aitken had this piece projected onto seven facades of MoMA’s exterior. Conflating the constructs of time and space relations, Aitken created a visual experience for New York about New York in a way that places the spectator within the work through physical, direct experience, but also keeps his voyeuristic tendencies satisfied — our favorite way to not know our neighbors — through five interconnected films that presented stories with no conclusive points, departure, or finales. Aitken was able to mimic our lives while maintaining the quintessential New York anonymity.

Humble Arts Foundation, the new photo group whose aim is to present photo shows online, solidified its mission this year. Humble’s efforts consist of seeking and promoting hot new photographic talent, providing grant and exhibition opportunities and never ceasing to impress. This year they boasted three gallery group exhibitions, beautiful on-line exhibitions — group and solo — and limited edition prints by twelve emerging photographers whose work you can still afford.

iPhone – I know, it’s not exactly an object of art, but isn’t it just a little bit? A beautiful, sleek gadget masterminded by the über-company that has figured out how to market and brand objects that are synonymous with “cool” in a way that render every possessor and consumer thereof an artist of sorts. Hanukkah Harry forgot to bring me mine this year.

Miss Rockaway Armada is a raft built from scraps and found objects whose aim is to float down the Mississippi river and stage art happenings, workshops, concerts, and performances all the while engaging and encouraging locals to participate in the many eclectic activities this very motley crew of local artists with visionary ideals has to offer. In its initial year, the Armada was a success. This year it surpassed its own expectations as the group built two extra rafts, along with the main supply boat, lived off the kindness of strangers, spending no money, and accrued hordes of new fans along the river.

Jerry Saltz joins New York Magazine and kicks some serious ass. He sizes up PS1’s coy attempt at disclosing the artist’s penchant for collecting, or rather not selling, only to repeat his poignant words on money’s disconcerting ability to devastate the simplicity and brilliance of art. Repetitive, perhaps, but Jerry wouldn’t be Jerry if his succinct words weren’t so indelibly implanted in our minds. You know an art critic’s opinion is truly sound when you can respond à la Jerry and smirk candidly in proud self-approbation the way I hope Jerry does after each successive point finale.

The Banksy show at the Vanina Holasek Gallery, which was dubbed “fake and unauthorized” by Banksy on his website, had the makings of a really brilliant show. This exhibition was one with the coolest potential in response to which the artist proclaimed a vitriolic denouncement, thereby ensuring a thoroughly juicy turn of events. This bold move on the part of Banksy, whoever he or they may be, affirms his legend in one fell swoop. This declaration came the same year as a Council’s official apology for erasing Banksy’s graffiti.

In a highbrow note of artistic and technological accomplishments, the Metropolitan Opera launches its Metropolitan Opera: Live in HD series in select theaters. Now opera goers can watch the operas live in HD quality, which rivals the real thing and enables viewers to have a virtually identical experience of magnificent costumes, earth shattering voices, dramatic innuendos and the moving experience of the opera but at a fraction of the price. I wonder if people still dress up.