Mark
Charrette Submission for The Museum of Modern Art Expansion, New York, NY (Aerial perspective)
1997
Rem Koolhaas

OMA (Office for Metropolitan Architecture)
Mixed media collage on vellum
11¾ x 16½"


MoMA: THE PROJECT

Theoretically, MoMA is about newness.
Newness is ambiguous.
It cannot last; it cannot have a tradition.
MoMA is a great Museum.
Greatness is double edged. The longer it lasts; the harder 'greatness' is to maintain. It makes demands.
It intimidates. It hinders. Slows down.
Immobilizes the institution.
An invitation to MoMA is both an apotheosis and a trial; you've been included but you know in advance that you can never be equal to the embrace. Does the embrace devour?
The splendor and uniqueness of MoMA's history complicates its relationship with the present. The expectation of continuity penalizes what is 'other' , what does not 'fit', or 'merely' contemporary. Beyond its power to intimidate, to set standards, to consecrate - an entire domain of exploration, experimentation has become problematic: its investment in a master narrative and the abundant evidence to support 'the line' make certain new shows seem like mere tokenism or simply impossible.

What can you challenge in a Temple?

How do you cohabit with God(s)? —OMA





(Photo: MoMA & OMA)