I spent days in New York looking at almost all art fairs, including The Armory, Volta, Red Dot, The Independent on 22nd street, as well as Pulse and the Art Dealers on 5th ave. Also went for the Skin Fruit show at the New Museum, The Whitney Biennale ( stunning works on paper ), MOMA - where William Kentridge had a show I have seen and completely overpowers me every time, and where Abramovich had her pre-miere. Also went to be delighted in the works on paper at the Museum of Art and Design. Just counting the number of galleries at the fairs, I saw about 350-400 galleries represented and that was just the most intense experience and very solid exchange of molecules.
As a student of art I am very interested in process. I believe the process drives the outcome of a piece and allows the artist to bring a lot of power to the surface. Seeing Picasso's experiments, trials and errors to reach the final Guernica taught me a lot about process. In fact, I spent far more time looking at Picasso's sketches and thrown away work rather than Guernica itself. Process could be many things - studying Goya's black paintings at the Prado and studying their history allowed me to see the broader reach of process, where it also includes intent, and anguish. In the black paintings Goya used printers ink and I recognized that a solid enough process allows the artist to introduce and control seemingly "random" experiments. Just like in Martial Arts, once you have done your poomse about 10,000 times you feel confident leaping around a bamboo forest. 
I also used to worry about the viability of paper as a medium but after seeing Bronzino's drawings at the Met I absolutely recognized the fact that the fragility of the paper in no way diminished the power of the line. The work was so moving and the rooms so crowded with breathtaking works that I never had that doubt again.