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October 19 2019
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A Meret Oppenheim fur-lined teacup from the “Fantastic Art, Surrealism and Dada” exhibition, in 1936.

Like many a grande dame, MoMA has had some work done. The Museum of Modern Art reopens October 21 with two major interventions: one, the architectural, by Diller Scofidio + Renfro in collaboration with another firm, Gensler, which also incorporates the former American Folk Art Museum; the other a re-installation of its extraordinary collection, which now integrates disciplines and leaps over genres, mirroring the way most artists approach their practices today.

Each of the additions since its founding in 1929 has been met with complaints about the loss of intimacy, or decried as “corporate” (or, recently, “soulless”), and inevitably, as it has grown and gobbled up many neighboring buildings like a chomping Pac-Man, the challenge of connecting the dots—in ways that construction of an entirely new building would have avoided—has been profound.

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