Have no fear, solipsistic Jerry Saltz did find a way to structure his entire essay on the new Whitney museum to foreground himself from the first letter. Nonetheless, the critic makes an extraordinarily important point about the museum, its new location and the opportunities to broaden our experience of art from the fixation on superlative works:
The Whitney knows how to consider new work alongside old, how to throw together pieces produced in entirely different contexts and watch the sparks fly. Freed from the need to consign works forever to, say, a room (or collection) dedicated to Ashcan School painting or Pop, curators could hang a single painting in multiple shows over decades alongside different paintings from different decades each time, and each time prompt a different reckoning — in one case with the use of color, in another the use of line, then gesture, compositional strategies, relation to madness or Romanticism or urban experience, to music, materiality, process, to television or cinema or Continental philosophy. The list will be as long as the curators are creative.