The decision by the Metropolitan Museum, around the time Thomas P. Campbell replaced the long-serving Philippe de Montebello as director, to embrace contemporary art “all in,” raised the question of what the museum could contribute to the conversation that was new in a city with three other major museums—not to mention countless other outlets—already deeply involved in collecting and displaying contemporary art. In various public statements, museum staffers made clear that the Met would leverage its extraordinary encyclopedic holdings of past art to provide a deepening context in which to understand the art of the present. This sounded promising—no artwork is an island, so to speak—and led one to expect that in exhibitions and installations, present and past would be seen more or less on equal terms, each one illuminating the other even as their unique qualities were still allowed...


A Message from the Editors

Your donation sustains our efforts to inspire joyous rediscoveries.

Popular Right Now