The Metropolitan Museum’s show of Sienese fifteenth-century painting was an apparently unexpected triumph, on several levels if not ail, for its artists and its installers.1 Tickets were not required to enter, unlike the case of the simultaneous O’Keeffe show in the building, yet the Sienese banner hung in the middle of the façade and O’Keeffe’s went to one side. There were reports in the holiday period of crowds thick enough to make the air unpleasant. If the people who have to guess what attendance will be had assumed a bigger draw for a show that was modern, American, and maybe feminist, thus requiring no work or background by the drop-in public, than for a display of mostly very small religious pictures, with obscure stories, from a secondary and now obsolete locus...

 

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