Dora Maar

“Picasso in the Metropolitan Museum of Art” is wretchedly installed. I cannot imagine what Gary Tinterow, the curator at the museum who organized the show, thought he was doing. Tinterow has crammed so many paintings, drawings, and prints so close together that it is virtually impossible to see anything on its own terms or to make distinctions between major and minor works. In this absurdly overcrowded hanging, key paintings—Gertrude Stein (1905-06), Woman in White (1923), Dora Maar in an Arm Chair (1939)—are treated like straphangers in a rush-hour subway.

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