Yve-Alain Bois

I HAD BEEN WARNED. FRIENDS OF ALL PERSUASIONS had told me that even if I did not find MoMA’s new architecture offensive, I would certainly object to the reinstallation of the collection. They mentioned troubling details as supporting evidence: Matisse’s Dance (I), 1909, in a staircase; David Smith’s Australia, 1951, pushed against a wall at the foot of an escalator; the dire and (by comparison) tiny space devoted to Conceptual art; Ellsworth Kelly’s Colors for a Large Wall of 1951 placed next to a generic late-’50s Hans Hofmann with colored rectangles; a large multicolored Judd floor piece thrusting diagonally across a room—even though the artist, to my knowledge, always presented his work on the orthogonal—and thereby squeezing another Kelly, this one a delicate white relief, on a wall busy with doors and other visual disturbances, etc., etc. Schadenfreude not being my thing, I was in no

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