I've found that the best art is often not pre-planned, but grows out of personal idiosyncracies and the joyous randomness of human interaction. A number of this week's articles nicely reinforce this observation. Tube of Plenty, a preview of this summer's P.O.V. series on PBS, praises the program for supporting documentary work by independent filmmakers. I've seen dozens of P.O.V. shows from previous years, many of which succeeded by virtue of the personalities and charmingly self-taught nature of those who made them. There's nothing else like P.O.V. on TV, and if you blink twice you might miss it (the series begins on July 1).

Two Women: Helga & Divine looks at two art exhibits containing work by Andrew Wyeth and John Waters. These artists, one who nurtured his work in pastoral isolation, the other who embraced the hideousness of trash culture, developed distinct voices based on values purely their own. Speaking of trash, artist Bill Kranstover, also known as the Phantom of Park City, has become notorious for leaving large salvaged-metal sculptures in key locations around town. This article explains how his guerrilla art tactics help him maintain his sense of freedom from others' expectations.

Finally, in Diva Inspiration, read how a San Francisco singing group mixes equal parts music and audience-participation theatre to create performances that are as much about unpredictability as they are about the songs themselves. These articles and others in this week's issue show how tension between established convention and personal invention often results in the most vibrant art.