Above and left, Yoko Ono views her own work "Ceiling Painting" (aka the Yes Painting). Viewers climbed a ladder and used a magnifying glass hung from the ceiling to glimpse her message: "yes" Images via pixgood.com and tumblr.net.

When responding to an artist’s work, it helps to on the side of the art. This holds true for several reasons.

“How is this working for me?” (as opposed to “How is this failing?”) allows a respondent access the learning the piece has offered her. By first identifying the elements to which she responds with the biggest “yes,” she is primed for further insights that will guide her toward a more productive critique.
Likewise, feedback that starts an honest “Yes” reconnects the artist to the learning she has already undergone through creating the work. By helping her keep track of the earlier learning, such feedback better positions her to consider her next steps.
Artists are prone to await feedback with a certain amount of anxiety, which can occlude their ability to listen. By starting with an honest “Yes,” a respondent can help defuse some of these anxieties and help the artist listen more attentively.

A good example of why this works: Imagine a recording session. A vocalist stands at the microphone while the producer stares at her from behind the control-room glass. The producer, who is mindful not only of the finished product she has in mind but also of the singer’s vocal endurance and, perhaps, anxiety, will want to lead her artist through the recording in the fewest possible takes (though she may be ready to take as many as needed to capture the desired performance).

With that in mind, consider the difference between this . . .

“I thought you were rushing the choruses.”

and this . . .

“I like how laid back and pocketed the verses are. You are really feeling the rhythm there and it’s bringing the words to life. Can you work that same groovy magic on the choruses?”

The second response affirms what the singer has already learned about singing the verses and invites her to bring that learning to the choruses. It turns her learning loose on the problem. The first response, on the other hand, makes no such reference. Indeed, the singer may think she is singing the verses wrong, too. If she is like most of us creative types, the first comment will invite unnecessary self-criticism. The second invites self-affirmation, which is what all artists need to access their deepest learning.

Begin with "yes." It's a lesson from improv acting that has relevance to the art of critique, and life at large.

Thank you for reading.