Won't it be marvellous when the museums and galleries open again and we can actually see real art, real sculpture, real antiquities? Online is fine, but "being there" is the experience.
Museums and galleries are hugely popular. When I was a youngster, you'd nearly have the National Gallery in Dublin to yourself. By 2019, art galleries always seemed thronged.
Last time I visited the Musee d'Orsay in Paris, it was like being at a football match - elbowed aside by bustling crowds, often taking selfies of themselves before a Berthe Morisot. As for trying to view Klimt at the Belvedere in Vienna - what a scrum.
But, post-lockdown, that's one thing that will change about our art experiences, says Sir Charles Saumarez Smith, the renowned art historian and former director of London's National Gallery.
We have now acquired the habit of "social distancing" - and that practice will probably continue, with a limited number of people looking at pictures or objects in each room. "We'll be spending more time at each picture," he says. And that's good.
Museums used to be about conserving the past. "They were quite didactic - teaching people the history of art," says Saumarez Smith. But, in recent decades, they've also been about forging the present and even predicting the future.
The old-style museum was a classical building in the middle of a city. The museum of today can be anywhere, and look like anything - Tate Modern in London was a former power station. There's a brilliant museum, MONA, on an island in Tasmania. Museums have events, displays, narratives - and much better shops. Shops are enormously popular: when Saumarez Smith was CEO of the Royal Academy of Arts in London, Tracey Emin's coffee cups and David Hockney's ashtrays sold like hot cakes. "Sixty per cent of tourists to an art gallery want a souvenir," says the former National Gallery boss.
So, what are the future trends and developments? In his new book, The Art Museum in Modern Times, Saumarez Smith identifies two: one is the growth of the architect-designed museum, like the stunning Guggenheim in Bilbao, designed by Frank Gehry.
The second is the rise of private museums, globally: "Rich people who decide not to give their collection to the state museum - who want to do their own thing."
The rich have got richer during the Covid pandemic - unfair, but there it is - and they will want to spend their money on art, but as they choose.
"They like working with architects. It's partly self-aggrandisement. But they want their collection to be seen."
The Menil Collection in Houston, Texas, is a leading example - "the product of a very forceful, strong-willed and driven private collector".
The De Menil family were originally inspired by a Dominican priest, Fr Couturier, who had managed the Matisse Chapel at Vence. (Although there could well be a reaction against private wealth curating their own collections, rather than donating to public institutions.)
Two other issues are also emerging: one is the controversial question of restitution. This began with Greece's claim that the British Museum should restore the Elgin Marbles.
There are now growing claims from Africa for restored treasures and Sir Charles's younger son is engaged in recording works from Africa which have been forcibly stolen.
His own view - which he says is probably "old-fashioned" (he's 66) - is that the main thing is just to be honest about where everything came from and in what circumstances.
One day, the Rosetta Stone could be restored to Memphis, Egypt, from where it was seized by a Napoleonic officer and captured by the British.
The second theme is the growing demand for women artists. In the art world, the future is female. Sir Charles knows an internationally well-regarded Irish-born artist working in London, but galleries have made it clear that male artists are just not their priority right now.
"They are trying to be more diverse. Everyone is trying to rebalance their programmes by providing work that is less conventional, less traditional, less white, less old, less male," says Saumarez Smith.
"There's now a new risk that, over the next 15 years, you'll get a generation of older, white artists whose work is not seen."
It's a social correction that's just happening, and the white male artist is having a tougher time.
And yet, surely, art that inspires will always break through. Art is "a search for the sacred". The wonderful expansion and enhancements of museums and art galleries over recent times are a witness to that.
When they open again, people will flood back to galleries and museums, even if still maintaining some social distance.
Saumarez Smith illuminates many terrific museums and galleries in his book: one for my personal bucket list, post-lockdown, is the impressive Louvre Abu Dhabi, where the French brought a dazzling white-stoned edifice to the desert.
The art is historically international, religiously ecumenical and "treats all cultures from across the globe as of equivalent value".