Christopher Knight tours SF MoMA’s new building with multiple shows, often anchored by the Fisher collection, of big name artists (though no California artists):
Individual rooms feature 24 hard-edge abstract paintings, drawings and reliefs by Ellsworth Kelly; 18 figurative and abstract paintings by Gerhard Richter; 14 silkscreens on canvas by Andy Warhol (most from the crucial 1960s); 11 Photorealist artist portraits in various media by Chuck Close; seven Agnes Martin grid and stripe paintings (installed in a heptagon-shaped room, recalling the sublime space at the Harwood Museum in Taos, N.M., where the artist once lived); five geometrically ordered Minimalist sculptures by Carl Andre; and five monumental mixed-media paintings of a decaying German mythos by Anselm Kiefer (plus one large model airplane in lead, an emphatically heavier-than-air machine conjuring the cruel historical weight of the failed Luftwaffe and its celebrated pilot artist, Joseph Beuys).
Elsewhere there’s a lovely glass-walled gallery with 11 delicate sculptures (mostly mobiles) by Alexander Calder; another with four Richard Serra sculptures of precariously balanced steel plates plus a classic site-specific piece in which he splashed molten lead into the gutter between a wall and the floor, as well as an enormous rolled steel labyrinth-sculpture in a new museum lobby; and a room of 26 distinctive Diane Arbus photographs of socially marginalized people navigating life in a new era dominated by homogenized mass media.
I lost count of the number of Sol LeWitt abstract wall drawings and Minimalist cube sculptures, both exploiting a predetermined structural idea to generate the art. Suffice to say: a lot.
And that’s just to start. Phew! It’s a blue-chip blow-out.