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Tate Modern

WHEN THE TATE GALLERY OF Modern Art opens the doors of the transformed Bankside Power Station to the public on May 12, the international museum landscape will never be the same. Comparisons between the central London institution’s debut and the opening of the Museum of Modern Art in New York in 1929 or the Centre Georges Pompidou in Paris in 1977 don’t seem far-fetched. The museum’s press material has played up the fact that Tate Modern will represent not only a major new museum for modern and contemporary art but also the public face of twenty-first-century London. Tate director Nicholas Serota, the recently knighted art historian who has supervised the entire process—from the trustees’ decision in 1992 to establish an autonomous exhibition space for the international collection to the appointment in 1998 of a director for the new space, Lars Nittve, and a team of curators—is unequivocal

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