I couldn’t help but gag at the take-out in the Philadelphia Inquirer on Sunday from the Peter Schjeldahl article in the New Yorker about the Barnes, because it misrepresented the piece. The Inky ran a chunk from the center of the piece, in favor of the Barnes’ display system, and left out the all important context of the piece–the beginning and the end–which expressed the case for moving the Barnes and the author’s ambivalence.
Furthermore, to represent the art world as a united front in favor of keeping the Barnes where it is, is also misleading. Yet that’s what the Inky did.
Just like Schjeldahl, the art world is conflicted.
