The new Museum of Modern Art ditches chronology for a mixture of ideas

This sounds fairly simple to achieve: Don't put galleries in a one-directional loop, yet it eluded architect Yoshio Taniguchi in the 2004 extension of MoMA

Walking through near-empty galleries of the expanded Museum of Modern Art in New York on its first day of press previews, I experienced serendipity at the MoMA for the first time ever. I turned a corner and stumbled across a vitrine with Meret Oppenheim’s fur cup from 1936 in front of Frida Kahlo’s Self Portrait with Cropped Hair from 1940; I walked to the left and was suddenly in front of Henri Matisse’s superstar work, Dance (I), from 1909.  

It’s a combination of paintings, sculptures, and time periods that could never have existed in the old MoMA, where chronology and