Opening Up MOMA

The Nation’s Arthur Danto seems to be among the most recent fans of YoshioTaniguchi’s redesign of New York’s Museum of Modern Art.

What immediately strikes a visitor to the 2004 museum, designed by
Yoshio Taniguchi to coincide with the seventy-fifth anniversary of
MoMA, is the way in which the museum is now literally open to the city.
The lobby is, in a qualified sense, a pedestrian passage, which one can
freely enter and exit; and the upper galleries allow views of New York
to enter through generously proportioned windows, as well as the
glass-curtain wall facing east. It is as if New York were, as the
engine of modernity, acknowledged as an integral part of what the
museum exists to show. But one is made conscious of art even if one
merely traverses the lobby from one cross street to the other.

I could not agree more with Danto’s use of the adjective "open," because that is the first word that struck me as well when I visited the new museum some weeks ago. I also liked the quick access to three of my favorite departments: photography, architecture & design and drawings. Danto joins the gushing of critics who were quoted in the November 2004 of Time Magazine. Danto says he was also "impressed that clusters of people gathered spontaneously in front of
certain early Modernist favorites, as they do in front of the Mona Lisa or The Raft of the Medusa."

My photo of the redesigned hallway leading to the museum’s restaurant:



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